Release Date: Feb 20th, 2026
WHAT PEOPLE SAY
Rajmund Bakalarz
ArtMundus.pl
Workaholism is often described as the affliction of our age—an illness born of relentless ambition and sleepless creativity. They say it can be cured. Yet while I wouldn’t mind being freed from this strangely enjoyable condition myself, as a devoted listener, I can only hope that my favourite musicians never seek the remedy. One such creative workaholic is undoubtedly Inga Habiba, the co-architect of this project. For what feels like years now, with near-clockwork regularity, I’ve received word of yet another new recording, another concert, another bold artistic venture from this tireless artist—best known for her long-standing role in the group Lorien. And I must confess, every such announcement fills me with delight, because whatever Inga touches invariably turns into something of substance—something intriguing, something utterly deserving of attention.
It was therefore with genuine excitement that I immersed myself in this new album—another collaborative creation bearing Inga’s unmistakable signature. Her partner in this venture is Peter Guellard—known in Poland as Piotr Dyda Czyszanowski—now based in the United States, and well familiar to fans of dark and gothic music through his earlier work with Blitzkrieg. With such formidable creative spirits joined together, one could expect nothing less than magic—and indeed, what they have conjured is something exceptional. The union of two such distinctive artistic minds could only yield one result: brilliance. This album is precisely that—unique, daring, and unpredictable, yet at the same time remarkably accessible, instantly captivating, and sensually intoxicating.
The music of Death By Love resists easy classification, deftly slipping between genres while remaining true to the essence of both artists’ roots. It is a rich, alchemical blend of industrial and gothic sonorities infused with elements of trip-hop, folk, rock, alternative pop, and even the hypnotic pulse of Arabic music—perhaps with a few other flavors folded in for good measure. Each component is seamlessly woven into a coherent whole, creating a sound that grips the listener and refuses to let go. This is music for those who crave new sensations—for those willing to venture into uncharted sonic realms.
Of course, one might attempt to trace the fingerprints of influence here and there—but in truth, that feels beside the point. The real experience lies not in analysis, but in surrender: to absorb this music, to feel it pulse and echo through you. And in this regard, the album delivers completely. It can be fierce—at moments almost metallic—yet it also carries a profound wistfulness, a melancholic grace. Electronics hum and shimmer; rhythms loop into trances; tender folk motifs drift like mist. Inga’s voice soars with both power and fragility, weaving haunting melodies, while Peter contributes spoken passages and deep, textured vocal lines. Together they form a soundscape that feels both vast and intimate—a rare and exquisite balance of the cerebral and the emotional.
In the end, it’s far easier to list what this record lacks than what it offers. And the only thing missing—so far—is its physical release. But I know it’s coming. And when it does, I’ll be the first in line—because this is an album worth holding in your hands as much as in your heart.
Karolina Filarczyk
KFM.NET.PL
“444” is the debut album by the duo DEATĦ B¥ LØVE, where darkness meets emotional honesty. Inga Habiba and Peter Guellard take the listener through eleven chapters of love that doesn’t heal—it teaches. This is music that doesn’t seek light; it provokes it.
DEATĦ B¥ LØVE is the collaboration of Inga Habiba and Peter Guellard: dark electronics, industrial pulse, zero pretence. On stage, they are joined by a guitarist and drummer, but it’s Inga and Peter who set the tone—raw, cold, sincere. With them, love isn’t a fairytale. It’s a difficult subject, sometimes painful, often uncomfortable.
Their album “444” is a cohesive story about emotions too complex for simple words. The opening track, “Sellenno,”feels like stepping into a dark room. The beat mimics a quickened heartbeat; the voice warns: “this is not a safe place.”“I Don’t” cuts emotions even deeper—it’s a song of withdrawal, without anger or screams. Just a statement: “I don’t feel—because it’s easier that way.”
“God” shifts the tone—heavier, more assertive, as if after the pain comes a need to regain control. It’s armour built on a crack. And when that armour falls, there comes “Ziro”—the album’s most human moment. Quiet, sincere, and completely exhausted. Music for the night after the storm, when emotions have settled and you’re searching for strength to rise again.
“444” traces a journey from being poisoned by love, through indifference and attempts at domination, to acceptance. There are no stadium choruses here, no pop shortcuts. Instead, there’s an atmosphere that reaches deeper. The sound is minimal, yet every note matters. The vocals keep their distance, but never hide the truth. The production is precise—sometimes dense, sometimes breathless—but always intentional.
This is not background music. It lingers, reminding you of the feelings you’d rather avoid. It offers no easy comfort, but something more important—a reminder that sometimes you must walk through the darkness to move forward.
Adam Dobrzyński
Ale Muzyka, Polski.FM, Radio Płock.FM, Jazz TV
I am “444,” and I will not fear the darkness, emotion, or the magnetic pull that draws listeners into my world of pain and doubt — because at the end, there is always a deep breath of fresh air and a flicker of hope.
Such is the debut album of an entirely new musical project: Death By Love.
This duo merges gothic, industrial, and trip-hop elements with Middle Eastern tones. Somewhere in the distance, echoes of EBM resound; elsewhere, shades of Depeche Mode appear. The music is sensual, rich in oriental and Eastern inclinations, full of eclectic atmosphere — and at times, reminiscent of Dead Can Dance.
Death By Love is composed of Inga Habiba — known from the Warsaw group Lorien, the folk-ethnic ensemble Habiarjan, and as half of NUN Electro — a beautiful, restless musical spirit who leaves an unmistakable, top-tier vocal imprint on everything she touches; and Peter Guellard (Piotr Dyda Czyszanowski), based in the United States, from the cult Łódź group Blitzkrieg — or perhaps it’s fair to say legendary, given how in the late 1980s they drew heavily from the likes of Bauhaus and early The Cult.
The result is a self-contained musical form — a classic concept album that is ethereal, immersive, and at times delightfully surprising.
My personal highlights include:
“Cosmic Power,” the oriental-tinged “I Don’t,” and “Ziro” — perhaps the track most evocative of Lisa Gerrard and Brendan Perry;
the irresistibly catchy “Strong Inside,”
“God,” which feels like the answer to “what if Łódź’s Hedone met Depeche Mode,”
“Lost and Found,”
and the dark yet enchantingly beautiful, Middle-Eastern-flavoured “Temros.”
Inga recalls:
“In the autumn of 2021, as the leaves turned fiery shades, the first bars of Ziro took root. In its mystical garden resounded the haunting voice of duduk player Wojciech Lubertowicz, while Hetor Werios crafted a visual story, sketching the frames of its video. Then, from the mist of time, emerged Allatu and Temros — two more stones completing this musical triptych. Yet the capricious wind of daily life — my concert travels and production work with other projects — pushed them into the shadows, where they patiently awaited a revitalising breath of inspiration.
Temros, the third jewel of the Triad, tells of a treasure — something deeply rooted within me, intertwined with the rhythm of my pulse, yet so fragile that any attempt to separate it could destroy it. Is it the echo of a soul? A burning passion? A shadow of sorrow? Or perhaps just a vast, vulnerable emotional sensitivity? I leave that to the wanderers of thought. That treasure can ignite great deeds — but also bring about downfall and bitter humiliation.”
The song Temros also appears on the Electronic Saviors VII compilation — a fitting addition to that renowned series.
It’s a slight pity that the previously released cover of Maanam’s “Krakowski Spleen” wasn’t included, even as a bonus track, but regardless — this concept album stands as one of the strongest musical statements of this autumn in Poland.
A record to fall in love with, to return to again and again.
I absolutely recommend it — and I sincerely hope this is only the beginning, not just a one-off debut.
Tiffany
terrarelicta.com
444, the full‑length debut album from electro‑goth/industrial duo Death By Love, is a refreshing, distinctive and cohesive work. An eleven‑track descent into shadow that ultimately bends toward renewal, 444 occupies its own unique and difficult‑to‑define space, resisting easy categorisation while remaining relevant and intentional in its execution.
From the opening moments, the duo establish their artistic vision with layered atmospheric electronics, instrumentation infused with Middle Eastern influences, silky and mesmerising vocals, and heavy, hypnotic rhythms. The result is an intense and introspective soundscape that balances the old world with the contemporary one beautifully.
444 moves fluidly between styles and emotional registers. "Sellenno" opens the album with an intimate moment of introduction. The trip‑hop pulse of "Cosmic Power" rises and eventually gives way to the traditional Middle Eastern energy threaded through "I Don't". "Forest" delivers a darker, more decadent atmosphere, reinforcing the album's dynamic scope. For a debut, this level of confidence and cohesion is particularly ambitious, yet the transitions feel seamless.
444 began to take shape in late 2024, when Inga Habiba, based in Poland, and Peter Guellard, based in the United States, met in Warsaw to record the project's earliest tracks. These sessions produced the debut single "Strong Inside" and the brooding "Temros" — compositions that would ultimately set the tone. The album evolved into a cross‑continental digital collaboration, a process subtly mirrored in its recurring themes of distance, persistence and connection. The record is deliberate, comprehensive and compelling, with each composition contributing to the narrative arc rather than standing alone.
Midway through the album, the sixth track, "God", introduces a notable shift without disrupting the flow. Instead, it acts as a hinge, gently guiding the listener into 444's next phase while maintaining continuity.
Vocally, Inga commands the album with a presence that feels both personal and illustrative. Her delivery carries weight without slipping into abstraction, grounding and shaping each melody with intention. The Middle Eastern influence in her vocal style works beautifully, weaving in and out at precisely the right moments. Peter's long‑standing roots in the dark electronic underground bring a strong sense of discipline and depth to both songwriting and production. Each track is sophisticated, polished and dynamic, balancing sonic atmosphere with refined structure.
Ultimately, 444 is an album that asks the listener to remain present, to surrender to its slow‑burning intensity, and to emerge enlightened on the other side. Not every composition carries the same emotional weight, though the sequencing smooths these fluctuations effectively.
In an era of disposable listening, Death By Love have created an outstanding work of immersion, patience and intention.
Christopher Nosnibor
auralaggravation.com
Life is full of surprises: Peter Guellard’s band, Dichro, looked to be on the brink of a breakthrough, when, out of the blue, singer Charmaine unexpectedly announced her departure.
As Peter recounts, ‘Around the same time, I was remixing a track called ‘Hide’ for the Polish electronica band NUN Electro. That remix pulled me into the deepest, darkest corners of my imagination, and it sparked something unexpected. Inga Habiba, the band’s incredible vocalist, reached out to collaborate further on her solo project, CallMe. One thing led to another, and soon we were dreaming up the idea of starting a new band together. It felt only natural for us to vibe within the goth, industrial, darkwave, and trip-hop realm’.
Fast forward not all that far and here we are, arriving at the release of Death By Love’s debut album – a truly international collaboration, facilitated by the power of the Internet between Poland and Pittsburgh, Pennsylvania. Two of their three previous singles – debut ‘Sellenno’, and follow-up ‘Strong Inside’ (both released in January 2025) feature here, and it’s that debut which opens the album with drive and energy, immediately grabbing the attention with its driving beat and technoindustrial / goth crossover vibes. It sets the tone and the level for the album, which is bold on beats and big on darkness.
‘I Don’t’ stands out as bringing a tension and sense of drama, as well as some esoteric Eastern flavours, and ‘Strong Inside’ is also tinged with Eastern influences, hints of The Cure circa The Top and The Head on the Door, melded with the driving electronic throb of, but KMFDM, but with a strong focus on vocal melody. Elsewhere, ‘Lost and Found’ goes large with an epic, cinematic sound that would comfortably fill a large venue, and the slow, brooding, string-laced ‘symphonic mix’ of ‘Temros’ – the original mix of which is yet to surface – stirs the same primal power as Wardruna. It’s potent, powerful stuff.
For its throbbing bass and more laid-back beats, ‘God’ – which sees Guellard step up to taker the mic – is more mellow and casts nods to David Bowie, and ‘Cosmic Power’ showcases a very different aspect of their form, spinning elements of trip-hop and country into a New Age electro cocoon – and without sounding naff – and the eight-minute ‘reprise’ of ‘Sellenno’ which concludes the album is a radical reworking, built around a weighty organ drone and breathy, breathless spoken word offers another unexpected stylistic switch.
And so it is that with 444, Death by Love deliver an album which slots neatly within the bracket of electro with an industrial / goth edge, but at the same time proves they’re no slaves to genre tropes, with some stylistic outliers which alter the listening experience and perception of the band in subtle but significant ways. Already, they’re evolving their own style: 444 is a strong and solid debut, and the directions in which they will develop this will be interesting.
Bernard
side-line.com
Polish–U.S. dark electronic duo Death By Love have released their debut concept album “444” on Distortion Productions, available on CD and digital formats.
The album runs eleven tracks and musically combines gothic, industrial and trip-hop elements with prominent Middle Eastern melodic touches. Thematically “444” is about mysticism, identity, spiritual tension and emotional rebirth, described by the duo as “a ritual of survival, transformation, and paradox”.
Writing for “444” began when core members Inga Habiba and Peter Guellard met in Warsaw in October 2024 to record the tracks “Strong Inside” and “Temros”, both accompanied by videos. The remainder of the record was developed through a year of file-based collaboration between Europe and the United States.
The album also includes “Temros (Symphonic Mix)”, a reworked version of the track that first appeared on the compilation “Electronic Saviors Vol. 7: ReUnion“.