Cemetery of Broken Hearts at Control: +SHE+ (Corina Sucarov) turns release night into a long, dark dancefloor"
The January 16, 2026 +SHE+ night at Control Club reads like a focused snapshot of where Bucharest’s darker dance music is right now: intimate, self-mythologizing, and built for a room that rewards detail. +SHE+ (Corina Sucarov’s project) returns to Control for the launch show of the double EP "Cemetery of Broken Hearts", with Martalogii opening, followed by an after-hours set from Corina Sucarov and Adina.
Bucharest in mid-January has a way of thinning the city out. The sidewalks empty earlier, and you notice how much nightlife here depends on a few dependable rooms with a good calendar and a door staff that’s seen every version of “just one more friend.” Control is one of those rooms, a long-running club with a split personality in the best sense: live shows early, DJs later, and a crowd that can pivot from guitar bands to electronic nights without demanding a costume change from the venue itself. Electronic Beats once described it as a club “located under a charming bistro in an old ballroom,” and that physical feeling of descending into a separate pocket of the city remains part of the appeal.
That matters for +SHE+, because the project thrives on the idea that music isn’t only audio, it’s a controlled environment. Control’s own self-description foregrounds that it hosts multiple scenes, explicitly naming punk and goth alongside techno, dark disco, indie, and house. When a venue claims that range and actually books it, nights like January 16 stop being “theme events” and start reading like a scene checking in with itself.
The headline is simple: on January 16, +SHE+ returns to Control for the launch concert of the double EP "Cemetery of Broken Hearts". The listing on Eventbook also frames it as “LIVE: +SHE+ (double EP launch) & Martalogii,” which tells you the curatorial intention in two words: live first, mythology second. Corina Sucarov’s own Facebook page post about the date adds a concrete musical detail that changes expectations: she describes +SHE+ as “now a 4-piece with live drums,” a shift that tends to sharpen darkwave and post-punk material into something more physical, less vapor-trail.
After the show, the night doesn’t dissolve into “playlist time.” Control has separately promoted an afterparty concept where Corina Sucarov “moves behind the decks in Room 2, together with fellow vampire Adina,” and the phrasing is revealing because it’s half logistics, half self-branding. The “vampire” tag signals a specific club language: not Halloween kitsch, more like a shorthand for nocturnal elegance, erotic threat, and an old goth tradition of dressing like you’re auditioning for immortality, then dancing like you’re late to it.
If you want the cleanest explanation of what +SHE+ is trying to do, it’s already been said in the project’s own ecosystem. A +SHE+ news post describes the project as Corina Sucarov’s exploration of an alter ego, “Katerina Molotov,” and claims the idea goes back to childhood songwriting and poems, with each +SHE+ release designed as its own separate entity. The same text plants the aesthetic flag clearly: “dark-wave, post-punk & drama-pop,” with an emphasis on “dark, deep, sexual and danceable.”
That last pairing, “sexual” and “danceable,” can sound like generic club copy until you hear how it’s used in practice. In this corner of music, sexuality is often treated as either spectacle (for the gaze) or confession (for the diary). The more interesting tradition, the one +SHE+ gestures toward, treats it as power management: who controls the room, who gets to be watched, who gets to narrate. Patriarchy (the Los Angeles industrial project led by Actually Huizenga) has built an international reputation on that exact axis; Side-Line describes Patriarchy’s thematic focus as “power dynamics and desire.” Even when Patriarchy is not on the bill this time, the gravity of that vocabulary still shapes the nights that orbit +SHE+.
It’s worth being precise about what January 16 is and isn’t. The show is a +SHE+ release event at Control with Martalogii opening. The “Patriarchy (US) / +SHE+” pairing, plus an afterparty with DJ Grace and Corina Sucarov, belongs to a previous Control event dated January 20, 2023. That earlier booking still matters as a reference point because it shows how +SHE+ has been positioned: not as a niche local warm-up act, but as a project trusted to share space with a touring industrial-darkwave name.
Patriarchy’s profile helps map the wider coordinates of this scene. Side-Line identifies Patriarchy as an industrial electronic act founded in Los Angeles by Actually Huizenga, active since 2019, integrating music with performance and visual media. The same source ties their discography to specific collaborators and production contexts: a debut album “Asking For It” produced by Andrew Means of 3Teeth, and a 2022 follow-up “The Unself” produced with Matia Simovich and mixed by John Fryer. In 2025, Side-Line also notes Patriarchy touring Europe with dates that include Berlin’s RSO and festivals like Brutal Assault and SonicBlast. This matters locally because it shows the pipeline Bucharest has been tapping into: a global circuit where “dark” music is no longer separated cleanly into guitar scenes and club scenes, and where projects come packaged with visuals, narrative, and a stance.
On the Bucharest end, Corina Sucarov’s work also extends beyond one band format. A Romanian festival schedule item lists “Disko Anksyete (Corina Sucarov),” presenting her as a DJ identity strong enough to be booked and billed on its own. That detail helps explain why Control treats the afterparty as part of the same ticketed night, not a separate add-on; the point is continuity, from live set to DJ set without changing the author of the mood.
There’s also a thread of deliberate community-building behind these nights. On +SHE+’s site, Corina Sucarov describes conceiving a series of goth parties together with “Grace Drago,” linking the project’s live face to a club ecosystem that needs regular gatherings to stay alive. The same page references an afterparty in Control’s small room with DJ Grace and Corina Sucarov on January 20, 2023, which places Grace as part of the curatorial DNA even when she isn’t headlining the 2026 date. In practical terms, that’s how scenes survive in cities that don’t have a permanent goth-only club: you build recurring nights, train the crowd, and give people permission to dress like themselves again.
Control, as a venue, is a loaded setting for any Bucharest live night because the city’s relationship to club safety changed permanently after the Colectiv fire in 2015. The Colectiv tragedy killed 64 people and injured many more, and investigations highlighted issues like flammable soundproofing foam and missing safety systems. A later Electronic Beats report describes how, after the fire, promoters were forced to move events, and how Control became a “vital safety net” as one of the few legal options, even as capacity and sound-system limits created pressure. None of this needs to be exploited for drama, but it does shape the audience’s baseline expectations: a serious club night in Bucharest carries a quiet demand for professionalism.
So what should a listener expect on January 16, beyond the obvious “new material”? The bill positions +SHE+ as a live act with enough dynamic range to justify an opening band, and enough club credibility to keep the room moving afterward. Corina Sucarov’s own framing of the project, with each release as its “own entity,” suggests the set may not treat older tracks as museum pieces, but as material to be re-lit and re-costumed to match the “Cemetery of Broken Hearts” era. And the “now a 4-piece with live drums” detail hints at a punchier, more forward rhythmic profile than laptop-era dark-pop, which can change how a Control crowd dances, less sway, more snap.
A note on Martalogii: they’re listed as the opening act in the Control event description and ticketing listings, but reliable public details about their sound and lineup aren’t present in the sources surfaced here. That lack of context can be a feature for the crowd that still enjoys the old club ritual of discovering an opener without pre-reading a brand narrative.
The gothic and the vampiric, in this setting, work less as costumes and more as social technology. Goth has always been good at turning private emotions into public style: black clothing as uniform, eyeliner as armor, the dancefloor as a place where intensity is allowed to be elegant. The vampire motif does something adjacent but sharper. It lets an artist talk about desire without sounding apologetic, about power without sounding like a lecture, about seduction without turning it into either therapy-speak or misogynist posturing. When Control’s own copy calls Adina a “fellow vampire,” it signals that the afterparty isn’t just “songs similar to the band,” it’s a continuation of character, a shared language of the night.
For people deciding whether to go, the real argument for showing up is structural, not hype. This date has a clear arc: a release-driven live set in Room 1, then the same artistic world translated into DJ logic in Room 2, sold as a single uninterrupted experience. It’s also a rare kind of Bucharest event where the “dark” label isn’t imported as a one-off novelty; it’s anchored by a local project with a stated long-term concept (Katerina Molotov, separate entities per release) and a track record of building nights around that concept. If the goal is to catch +SHE+ at a moment when the project is actively reshaping its format, not repeating an old template, the “4-piece with live drums” detail suggests this is exactly that phase.
One practical question before writing a tighter, more accurate 1,500-word final: should the article treat January 16 as a pure +SHE+ release night (with Martalogii, then Corina Sucarov & Adina), or should it also frame it as part of the longer “fem-powered goth revival” thread that included the 2023 Patriarchy night with DJ Grace?
