Aux Animaux is the darkwave and hauntwave solo project of Turkish-born, Stockholm-based musician Gözde Düzer. Since its formation in 2015, the project has combined darkwave, post-punk, gothic synth, and cinematic horror influences into a distinctive sound shaped by haunting vocals, driving bass lines, and the unmistakable tones of the theremin. Inspired by occult themes and classic horror films, Aux Animaux has become a respected name within the international dark alternative scene.

Beyond her music, Düzer is also known for her strong commitment to animal rights and veganism, values that are reflected in both her artistic vision and visual work. With acclaimed releases including The Hydesville Episode, Hauntology, and Body Horror, as well as performances alongside acts such as She Past Away, Aux Animaux continues to captivate audiences with atmospheric live shows that blend dark aesthetics, emotion, and experimental soundscapes.

When Bleak started almost twenty years ago, streaming didn’t exist in the way we know it today. Music travelled through blogs, forums, netlabels and personal recommendations. You didn’t scroll endlessly through algorithms – you explored.

Bleak was born in that environment.

It was never about genres, trends or commercial success. It was about releasing music that deserved to exist. Music that challenged expectations, crossed boundaries or simply refused to fit into neat categories.

Over the years, Bleak had the privilege of working with remarkable artists and releasing everything from musique concrète, industrial and power electronics to minimal electronics, shoegaze and experimental pop. Some releases became free digital editions, others evolved into carefully crafted physical objects on vinyl, CD-R or cassette. There were concerts, collaborations, radio shows and countless conversations.

Then things became quiet – not because the story had ended, but because the world around it had changed. Streaming replaced discovery with convenience. Social media accelerated everything. The netlabel movement that inspired Bleak slowly disappeared. Many labels vanished with it.

Rather than trying to compete with that new reality, Bleak simply paused. That pause lasted longer than expected.

Why return now?

Because the need for curation has never been greater.

Today, more music is released every single day than any listener could ever explore. Artificial intelligence can generate songs in seconds. Algorithms know what is similar, but they rarely explain why something matters.

Bleak has never been about quantity, it has always been about context, and sometimes it was just the sheer surprise of something we would listen to that caught us.

We think: Every release has a story, every artist belongs to a wider cultural landscape. Every recording is part of an ongoing conversation that stretches across decades of experimental music.

That conversation deserves a place.

What Bleak will become

Bleak returns as more than a record label, it will remain a home for carefully selected releases, but it will also become an archive, a journal, a platform for conversations.

A place to rediscover forgotten music, document underground culture, share stories from artists, revisit the history of industrial and experimental scenes, and hopefully inspire new ones.

Some releases will be digital, some physical, some projects may never fit into traditional formats at all – that has always been part of Bleak’s identity.

I as curator am lucky to have met so many artists and other curators, musicians, label owners, and we share a culture of conversation, challenge and exchange. I will try to bring this into the content here.

Looking forward

The first new releases have already appeared, more are coming.

Alongside them will be interviews, essays, archive material, photographs, playlists and stories from almost five decades of independent music culture.

If you’ve been following Bleak since the beginning: Welcome back.

If this is your first visit: Welcome.

There’s a lot to discover.

Bleak
Curating experimental culture since 2007.

This year, 2025, headliners included Test Dept., Cut Hands, Thorofon, Portion Control, Ordo Rosarius Equilibrio, Mono No Aware amongst many others.

On four days, Maciek Frett and his team proved again that their event is one of the most important in the European scene.

Can’t believe it’s been 14 years since this one! bleak037 – Various Artists – Wroclaw Industrial Festival – 10th Anniversary Compilation

All fotos by Bernhard / Bleak.