no curse, only a crown of rage. the gavel is her gaze.
„sentenced to stone“ is my take on medusa—not as the monster she’s been painted for centuries, but as a symbol of feminine rage and survival. in western culture, powerful women have long been cast as threats that must be controlled, conquered, or destroyed. medusa is the archetype of that demonization: assaulted, blamed, and punished for a crime she didn’t commit. her story is not just mythology—it mirrors the way patriarchal systems still treat women who suffer violence.
this lyric was driven by the urge to flip that narrative. her serpents are not shame, but strength. her gaze is not a curse, but law. in „sentenced to stone“ she rises from victimhood into agency, embodying a rage that refuses to be silenced. she is judge and executioner, avenger for those who cannot defend themselves. the song reclaims her beauty as well—no longer fragile or ornamental, but fierce, terrible, and radiant because of what she endured and what she became. „sentenced to stone“ is both tribute and threat: a hymn of empowerment, and a reckoning for the violence that patriarchy keeps excusing. check it out now.

when a virus revealed more than just our weakness.
“when the world stood still” is a detached chronicle of how humanity stumbled through the pandemic. the verses look at us like a strange species on display: first fumbling in confusion, then splitting apart in anger. whether the virus came from careless science or reckless appetite hardly matters—the real story lies in how we answered it.
from panic and paralysis to denial and division, the song charts the collapse of unity: cures refused, truths drowned, hatred weaponized. what should have been a fight against a common enemy became a war against ourselves. the bridge and chorus drive that point home, hammering the absurdity of our self-destruction while still throwing out one last call: only together is survival possible. written with irony, weight, and an almost surgical detachment, “when the world stood still” is less about the virus itself than about the mirror it held up to us. check it out now.

no glass slipper, no salvation. only revolt.
„staubkind“ is a dark retelling of cinderella stripped of its fairy-tale sheen. the lyrics expose the systematic abuses hidden in her story: daily humiliation dressed as chores, exploitation masked as duty, and the false salvation of a prince who represents nothing but patriarchal control.
the creative spark came from looking at what that story really teaches when you peel back the glitter. it’s not about rescue. it’s about power imbalance, coercion, and dependence, structures still alive today. the shattered slipper becomes the turning point, but the figure of staubkind is more than cinderella. she is a metaphor, a lyrical symbol for everyone crushed by similar chains, and for the strength to rise from dust and reject imposed oppression. written as an accusation and a rallying cry, „staubkind“ turns a children’s tale into a protest song. it’s about breaking glass, breaking silence, and breaking free. check it out now.

beauty, envy, hatred: when the mirror becomes your feed.
’not the fairest‘ is a dark parable about envy in the age of algorithms. told through the voice of the mirror itself, the lyrics expose how comparison culture feeds on our insecurities, pushing us into a cycle of obsession, spite, and self-destruction. the mirror seduces, taunts, and profits from our hunger to be “the fairest of them all,” only to reveal the emptiness at the end of the spiral.
inspired by the fairy tale of snow white, the song twists the familiar line into a modern critique of social media’s economy of attention. it’s part gothic fable, part social commentary, a track where timeless imagery meets the toxic mechanics of scrolling, liking, and hating. the result is both seductive and cruel, echoing the way platforms hook us with promises they never intend to satisfy. written as a demonic monologue from the mirror’s perspective, ’not the fairest‘ pulls you into the mindset of the algorithm itself: charming at first, then venomous, until it finally admits its own downfall. a cautionary tale for the age of feeds and filters. check it out now.

iron weight. shallow breath. the night becomes a tribunal.
‘standrecht’ is a dark electronic anthem built around the alp, the nightmare figure of german folklore who sits on your chest at night, crushing you with alpdruck until you wake in terror. in this song, the alp is no longer just a creature of dreams, but the very embodiment of martial law: judge, jury, and executioner of your subconscious. every beat is a gavel strike, every chorus a merciless verdict.
the creative driver behind this track was the fascination with how folklore punishes transgression without warning or appeal. just as ’standrecht‘ replaces due process with instant justice, the alp replaces peaceful sleep with suffocating dread, a fitting metaphor for power that comes without mercy. the lyrics draw from idioms like „dich hat der teufel geritten“ and the merciless phrase „kurzen prozess machen“, turning them into the language of a nightmare tribunal.
‘standrecht’ thrives on this tension between myth and authority, between the helplessness of sleep and the brutality of summary judgment. this one’s for the restless, the guilty, and everyone who knows: when the alp arrives, the trial has already ended. check it out now.

a whisper in the dark. a hand reaching out. the forest closes in.
’spirit king‘ is a slow, stomping descent into the world of the death-spirit who lures, promises, and finally claims his prey. written from his own perspective, the lyric twists Goethe’s classic Erlkönig into a first-person battle oath, part seduction, part threat, part ceremonial curse. the chorus is not just a refrain, but a ritual declaration: the rider calls, the daughters dance, and resistance ends in death.
the creative spark behind this track was the idea of making the Erlkönig not a distant figure whispered about, but a voice inside your head, commanding you directly. instead of re-telling the poem, the song transforms it into an electronic death-chant: something you can march, stomp, and lose yourself to while feeling the shadow breathing down your neck. this one’s for those who find beauty in menace, who walk the line between lure and threat, who know the dance floor can be a forest, and the music itself the spirit that takes you away. check it out now.

voltage. creation. obsession. this is the spark that wakes the dead.
‘starkstrom’ is a tragic love story inspired by Mary Shelley’s Frankenstein and the galvanic experiments that first suggested electricity could animate lifeless flesh. with sharp, chant-driven verses and a chorus that both adores and condemns, the song explores the dual nature of power: the force that brings life, and the same force that can take it away.
the creative driver for this track was the idea of loneliness pushed to its extreme, the desperate desire to craft a soulmate where none exists, and the moral collapse that follows when creation becomes obsession. it’s both a celebration of electricity as a symbol of passion and rebirth, and a warning about the cost of playing god.
this one’s for the dark romantics, the seekers of fire in the void, and everyone who knows: where there is light, there will also be shadows. ‘starkstrom’ is alive now. check it out now.

a rider in black. steel in hand. soil and blood in his wake.
‚the heartplow‘ is a dark, martial ballad told from the perspective of a ghostly horseman born of heartbreak. once betrayed and left to rot, he now roams the earth with a plow-shaped blade, convinced that only by tearing hearts open can he “save” others from the same crushing loss. the song’s verses recount his own ruin and rebirth, while the chorus turns Carl Zuckmayer’s poetic metaphor: “a heart must be torn open, like a field by a plow, so that it can blossom and bear fruit” into the narrator’s twisted battle cry.
the creative spark for this track came from exploring the double edge of that quote: its surface beauty as a truth about growth through pain, and its darker reinterpretation as the creed of someone delusional enough to believe their violent acts are mercy. this is no love song, it’s a war hymn for a cursed savior, and a reminder that not every plow sows life. check it out now.

three children. three tragedies. one system that failed them all.
‚misfits by design‘ is a protest anthem that tears into the cruelty of mistaken norms. in four sharp verses, it reimagines Heinrich Hoffmann’s cautionary tales of shock-headed peter, soup-kaspar, and fidgety philip as modern allegories: non-normative appearances punished by ridicule, anorexia fueled by toxic beauty standards, and neurodivergence crushed under the demand to “fit in.” the final verse delivers the verdict, a society that shapes its children wrong, then blames them for breaking. the creative driver behind this track was the recognition of how today’s parents, institutions, and cultural ideals still perpetuate the same harm: policing bodies, silencing difference, and calling it “care.” by embedding the title phrase misfits by design directly into the chorus, the song becomes both an accusation and a rallying cry, a stompable, shout-along warning to stop breaking what was never broken.
this one’s for the kids who were told they were wrong just for being themselves, and for the adults still carrying those scars. turn it up, stomp it out, and let’s break their mold before it breaks anyone else. check it out now.

what if the fire was the one whispering in your ear?
’so pretty‘ is a sinister retelling of the classic cautionary tale ‚harriet and the matches‘ from heinrich hoffmann’s struwwelpeter, but this time, the flame speaks. told entirely from the fire’s perspective, the song turns a child’s fatal curiosity into a scorching metaphor for humanity’s blind march toward climate collapse.
at first, the fire tempts harriet, soft, seductive, crackling with charm. but once unleashed, it spreads beyond her, feeding on comfort, denial, and the illusion of control. what begins as a cautionary tale becomes a joy parade of destruction. The chorus becomes a grotesque celebration, a joy parade of combustion, as the fire basks in its own destructive beauty: “for I’m so pretty when you burn.” fueled by a pounding rhythm and seething figurative language, ’so pretty‘ transforms a nursery rhyme into a brutal dancefloor warning. check it out now.