ISSUE 02 / 2026 I BULLET NFOREIGN BODY PHOTO EVA D-SECT IAN NOVAK RAM HEAD BEREN PLUS SELECTED MATERIAL FROM THE BRUISE RECORDS ARCHIVE ISSUED BY BRUISE RECORDS ISSUED BY BRUISE RECORDS
In the hours before the night begins, the club exists in a state of suspended function. The lights have been checked, the gear connected, and the stage set. The empty hall holds only the traces of the pre- vious night and the anticipation of the next. This is where this edition of BULLET-IN begins— before the first beat of the drum machine, before the artists appear, before the line forms at the entrance, and before the moment the space ceases to belong to itself. BEFORE THE DAMAGE
“In a few hours, this space will become a temporary system of sound, light, people, and physical conse- quences. After the concert, the system will vanish once more. What remains will be photographs, re- cordings, damaged gear, unsold merchandise, and a few conflicting versions of what took place. Here is a record of what happens between the empty venue and its return to its original state.” 13/06 15:00 !
ABOUT PROJECTBruise Records is an independent music label operating at the intersection of indus- trial electronics, EBM, post-punk, noise, and other genres where sound is per- ceived not merely as melody but as a phys- ical impact. Key elements include pressure, rhythm, repetition, overload, pauses, and a sense of the space the music inhabits. A release should not simply accompany the listener but leave a mark—much like a bruise remains as evidence of contact long after the cause has vanished. ABOUT PROJECT Bruise Records is an independent music label operating at the intersection of indus- trial electronics, EBM, post-punk, noise, and other genres where sound is per- ceived not merely as melody but as a phys- ical impact. Key elements include pressure, rhythm, repetition, overload, pauses, and a sense of the space the music inhabits. A release should not simply accompany the listener but leave a mark—much like a bruise remains as evidence of contact long after the cause has vanished. Ultimately, Bruise Records exists as more than just a logo on music releases; it is an integrated system for the production, doc- umentation, and dissemination of cultural material*. BULLET-IN is not a music magazine in the conventional sense. It does not aim to provide an objective account of the scene, offer a summary, or dictate exactly what the listener ought to hear. It is simply an internal document temporarily released for public distribution. Its contents include interviews, photographs, archival materials, concert reports, technical notes, an- nouncements, texts by artists, and imagery that exists somewhere between documen- tation and advertising. We asked Maria Reznik—a regular at Bruise Records events, an accidental witness to most of their launches, and someone who has seen more soundchecks than she’d care to admit—what BULLET-IN is.
“IT CAPTURES THE ATMOSPHERE AROUND BRUISE RECORDS AS CARE- FULLY AS THE LABEL CAPTURES SOUND.” “IT CAPTURES THE ATMOSPHERE AROUND BRUISE RECORDS AS CARE- FULLY AS THE LABEL CAPTURES SOUND.”
PCOMING 23/ 23/ 03 03 Live: Eva D-Sect Live: Ian Novak DJ sets by Bruise Records residents FREQUENCY BASEMENT Prague, Czech Republic Doors — 22:00 End — 05:00 Live: Eva D-Sect Live: Ian Novak DJ sets by Bruise Records residents FREQUENCY BASEMENT Prague, Czech Republic Doors — 22:00 End — 05:00 NIGHT SHIFT NIGHT SHIFT
ACTIVITY LIVE “In a few hours, this space will become a temporary system of sound, light, people, and physical conse- quences. After the concert, the system will vanish once more. What remains will be photographs, re- cordings, damaged gear, unsold merchandise, and a few conflicting versions of what took place. Here is a record of what happens between the empty venue and its return to its original state.” ¦
FOREIGN Foreign Body Photo turns observation into a form of pressure. Their music exists somewhere between industrial, post-punk, and the sensation of being constantly filmed. The name "Foreign Body Photo" can be read as a description of a medical image: a picture of an object that has ended up in- side an organism where it does not belong. But for the band, a "foreign body" is not merely a physical object; it is any feeling, thought, or memory that cannot be fully claimed or erased. Something alien re- mains within, altering the system's behavior and eventually becoming part of its normal functioning. BODY
PHOTO
Built from blown-out drums, corroded electronics and vocals that seem trans- mitted from the next room, Foreign Body Photo make songs that are difficult to hold in focus. Hooks appear, but never long enough to become comfortable. Rhythms lock into place only to be interrupted by feedback, silence or some mechanical pulse that sounds less played than activat- ed. Foreign Body Photo sound chaotic because their music is designed with extreme precision. Feedback does not merely appear; it enters at the exact point where a conventional song might offer relief. Silence arrives abruptly, not as absence but as pressure. Percussion patterns repeat just long enough to es- tablish a physical response before they shift, break or disappear entirely. Even the roughest sections feel carefully measured. The result is music that constantly threat- ens to collapse but almost never does. Each track remains suspended between order and failure, held together by a logic that is sensed more easily than under- stood. This is especially apparent in the band’s treatment of the human voice. Vocals rarely occupy the centre of a Foreign Body Photo song in the traditional sense. They are filtered, buried, repeated, interrupted or reduced to partial phrases. At times the singer sounds close enough to be breath- ing directly into the listener’s ear; seconds later, the same voice appears distant and anonymous, as if transmitted through sev- eral walls. BODY
ERROR
ADRIAN VALE
MARA RUST
“WE MAKE MUSIC FOR PEOPLE WHO HATE ADVERTISING, AND THEN WE SELL THEM A T-SHIRT WITH THAT PHRASE ON IT—ISN’T THAT STRANGE?” — VOSS
Foreign Body Photo rarely explain their own music. The band prefers to leave behind recordings, photographs, and conflicting accounts rather than detailed commentary. Nevertheless, for this issue of BULLET-IN, lead vocalist A-Vale and guitarist Mara Rust agreed to answer a few questions—on the condition that the conversation not be labeled a "discussion about the creative process." BULLET-IN: Let’s start with the obvious. What’s happening with Foreign Body Photo right now? ADRIAN: We’re recording new material, preparing for shows, and trying to convincingly act as if this was all part of the plan. Your music is constantly described as industrial, post-punk, EBM, and about ten other things. How do you define it yourselves? MARA: Music for poorly ventilated rooms. ADRIAN: We usually pick a genre depending on who’s asking. For journalists—post-industrial elec- tronica. For promoters—dance music. For the tax office—an activity with unpredictable income. Don’t you find it contradictory to criticize commer- cialism while simultaneously releasing merch? ADRIAN: No. We don’t criticize commercialism. We participate in it—just with a sour look on our faces. MARA: Refusing to sell merchandise is a market- ing strategy, too. Just a less profitable one. What do you think about the modern music indus- try? MARA: It’s perfectly optimized for producing con- tent—and a bit less so for producing music.
“The industry likes artists most when they can be explained in one sentence,” Mara says. “You need a genre, an image, a per- sonal tragedy and a fifteen-second section that works without the rest of the song. Everything has to be immediately identifi- able, but somehow you are still expected to appear original.” She does not describe the system as openly hostile. That would make it sound more dramatic—and more coherent—than it really is. Instead, she sees it as a structure built around constant conversion: music into content, personality into branding, attention into numbers. “The problem is not that music is being sold. Music has always been sold. The problem is that now every part of the artist has to remain commercially active at all times. You cannot disappear, change slow- ly or make something that takes time to understand. Silence is treated like failure.” For Mara, independence does not mean pretending to exist outside commerce. It means choosing which compromises are acceptable and making them visible. “I do not believe in purity. The moment you release something, you are participating in a system. But you can still decide how much of yourself the system is allowed to organise. You can sell a record without allowing the market to rewrite why you made it.” She pauses before adding: “The industry keeps asking artists to become easier to recognise. I think the more interesting question is whether they are still able to recognise themselves.
SELLING SOUND
WE LOOK WE WOULD RATHER SEE Y UR NEXT
OU THERE. TO SEEING YOU AT Not every night becomes historic. Some are simply very good. Others are remembered because some- thing failed, someone appeared unexpectedly or the planned running order stopped being relevant. This is part of why live events matter: they cannot be corrected, remastered or repackaged after the fact. They happen once, in front of whoever decided to come So check the dates, choose a city and arrive before the first act if possible. The photographs will appear later, the set lists will be disputed and someone will describe the night inaccurately online. CONCERT
RUISE RE SUPPLY Official Bruise Records merchandise designed for everyday wear, public events, and other situations where standard clothing fails to convey enough information about the wearer. Each item is designed as an extension of the label’s visual system. Prints, markings, and informational text draw upon elements from releases, concert documentation, and the Bruise Records internal ar- chive. Quantities are limited by production capacity, demand, and the patience of the people packing the orders. Select an item, check the size, and place your order via the official Bruise Records store.
CORDS DEPART MENT All images are for promotional purposes. Color, fit, print placement, and the level of post-purchase regret may vary slightly. Limited-edition items will not be reissued until a financially compelling reason arises.
ISSUE 02 / 2026 BULLET IN ISSUED BY BRUISE RECORDS ISSUED BY BRUISE RECORDS PRINTED FOR PUBLIC DISTRIBUTION. NOT INTENDED FOR MEDICAL USE.