The Black
Element.

NOIZU ノイズ

The forthcoming release from )))echo~echo((( — the long-running guitar and ambient duo of Mariusz Szypura and Paweł Krawczyk. After years of installation and live performance work — including the stereoscopic anaglyph piece êkhos at Lincoln Center during Unsound Festival NYC — the duo finally commits their layered guitar-and-feedback language to record.

The album takes its title from the Japanese transliteration of noise, but treats the concept through the ancient Greek lens of ekhos — resonance, sonic residue, the echo as a thing rather than an effect. Expect long-form pieces built from prepared guitars, granular textures, field recordings, and slow-moving harmonic clouds.

INFINITY FIDELITY

A double album designed to be played on two record players simultaneously — each disc carrying half of the composition. The full experience exists only in the room where both needles drop at once, the two sides phasing against each other in real space. A conceptual return to the physical room as the final mix stage.

Released in three parallel forms: the full [Part 1 & 2] object for simultaneous playback, and two standalone halves ([Part 1], [Part 2]) that function as albums in their own right. The Dolby Atmos mix translates the spatial premise into a single-listener immersive format. Awarded European Design Awards 2025 Gold in the Music & Film Cover category.

Released in partnership with Warner Music Poland. Silver Rocket's most ambitious record to date and a benchmark for how a release can encode its own playback ritual.

SOMETHING INDEFINITELY GOOD

The seventh full-length from Happy Pills — and the first in nearly a decade. Eleven tracks of indie guitar reverberation from one of Poland's longest-running underground bands, returning with their voice intact but their palette widened. The arrangements draw on everything the band has accumulated since the late nineties: jangle, fuzz, lo-fi tape warmth, and the patient melodic instinct that has always been their signature.

Tracks move between the introspective and the propulsive, with new room for keys and texture alongside the familiar guitar interplay. A late-career record that reads less as a comeback and more as a steady continuation — a band picking up where it left off without nostalgia.

HAPPY PILLS EP

A six-track return EP after a long period of dormancy. The first sign of new life from Happy Pills following the Retrosexual era, recorded as a deliberately compact statement rather than a full album.

The EP keeps the band's foundational guitar interplay and pop instinct intact, but threads in cleaner production, sharper rhythm-section arrangements, and a slightly more spacious sound. A bridge release that closes one chapter and opens the path toward Something Indefinitely Good nearly a decade later.

RETROSEXUAL

The fifth Happy Pills full-length — and the band's most fully realised pop statement up to this point. Fifteen tracks of guitar-driven indie rock that consolidate the lessons of the previous decade into something more confident: hookier arrangements, more ambitious production, and a writing style that leans into melody without losing the band's restless edge.

The album lives in the tension between nostalgia and forward motion — the title functions as both wink and manifesto. Recorded in Warsaw with the core lineup of the era. A record that maps cleanly onto the band's commercial peak and remains a fan favourite from the 2000s catalogue.

TESLA

Silver Rocket's third full-length and the album where the band fully commits to its hybrid identity — somewhere between post-rock, electronic music, and crafted sound design. Nine tracks of layered guitars, programmed rhythms, and slowly unfolding atmospheres.

Named after the Serbian-American inventor whose work runs as a recurring thematic thread through the band's discography, Tesla develops their signature interest in electricity and resonance as both subject and method. A pivotal record that sets the stage for everything Silver Rocket would do across the following decade, including the eventual conceptual leap of Infinity Fidelity.

17 SONGS

A seventeen-track collection that functions as both album and statement. The title is the concept: an unfiltered batch of songs from the band's mid-decade writing period, presented as a single body of work without the editorial culling typical of LP sequencing.

Stylistically the record moves across the full Happy Pills spectrum — jangle pop, melancholy mid-tempo, scrappier garage moments — and treats the album as a sketchbook rather than a tightly curated statement. A document of the band as a continuously running engine of songs, where the gesture of releasing seventeen at once becomes its own kind of position.

UNHAPPY SONGS

Silver Rocket's second full-length — eleven tracks that mark the band's move from instrumental electronics into something more song-shaped. The title sets the emotional temperature: melodic but downcast, with vocals appearing alongside the band's signature programmed rhythms and treated guitars.

Released in the same year as Happy Pills' 17 Songs, the album captures a particular mid-2000s moment in Polish independent music when post-rock, electronica, and indie rock were being braided together by a small group of Warsaw-based artists. A record that points directly toward Tesla two years later.

ASTRONAUT'S DIARY

A four-track EP — Silver Rocket's first proper follow-up to Electronics For Dogs. Short, exploratory, and conceptually framed as field notes from a hypothetical orbit: each piece a self-contained transmission rather than a movement of a longer work.

The release marks the band moving away from purely instrumental electronica and toward longer-form composition, with extended track lengths and more obvious narrative arc. A small but pivotal release in the discography — the moment when Silver Rocket starts thinking in cinematic scale.

ELECTRONICS FOR DOGS

Silver Rocket's debut album — eight tracks of programmed electronica and treated instrumentation that introduce the band's foundational vocabulary. Sequencers, drum machines, guitar feedback, and prepared samples woven into instrumental compositions that read as half-electronic, half-organic.

The cheeky title belies the seriousness of the project: a thesis statement about machines and listeners, about whether sound designed for one species can reach another. Recorded in Warsaw, released in the early 2000s wave of Polish electronic experimentation — the first chapter of a discography that would unfold over more than two decades.

SMILE

Ten tracks released at the turn of the new millennium — Happy Pills entering their second decade as a band with a fuller, more confident sound. The album leans into brighter melodic territory than the lo-fi material of the late nineties, while preserving the close-quarters intimacy that defined the early records.

A document of a band in the process of widening its sonic palette without abandoning its core instincts. Recorded as the Warsaw indie scene was consolidating into a distinct generation, Smile stands as one of the records that helped define what Polish guitar pop could sound like in the post-90s era.

HAPPY PILLS MEET SCHNEIDER

An eight-track collaboration released at the close of the band's first decade. The Schneider project enters as both producer and partner — adding production sheen, sample-based arrangement, and a more electronic flavour to the Happy Pills core sound.

The record sits as an interesting outlier in the discography: not quite a Happy Pills album in the conventional sense, not quite an external collaboration. The result is one of the more textured releases of the era, with the band's pop instincts filtered through a more studio-conscious production lens. A turn-of-the-millennium document of indie rock learning to work with electronic processes.

LO-FI

Twelve tracks recorded with the deliberate roughness suggested by the title. Lo-Fi codifies the band's late-nineties identity: tape hiss, bedroom production, distorted guitars sitting next to delicate melody. A record that embraces the limitations of its making as part of its character.

Released in the second year of the band's run, the album captures the moment when Happy Pills moved from being a promising debut act into a working, self-defining unit. Stands as one of the cornerstone releases of the Polish lo-fi pop tradition from the period — a reference point that subsequent generations of Warsaw guitar bands would point back to.

SOFT

The foundation. Nine tracks of indie guitar from 1997 — the first entry in the catalogue and the moment the lineage begins. Recorded with the kind of room-tone intimacy specific to mid-nineties independent rock: short songs, soft dynamics, careful melodies sitting close to the microphone.

As Happy Pills' debut, the album doubles as an origin document for a strand of Polish indie that would unfold across the following twenty-five years through this same catalogue. Everything that follows — the lo-fi experiments, the early-2000s pop turn, the eventual return on Something Indefinitely Good — extends from the language proposed on this record.