Dragged Into Sunlight Support

Dragged Into Sunlight have worked with Prosthetic Records for over 10 years. The band are the label’s longest-standing artist.

During that time, Dragged Into Sunlight has toured everywhere – from Europe to Australia/Japan and the US.

In May 2019, Dragged Into Sunlight delivered their final recording to Prosthetic Records.

Dragged Into Sunlight had informed Prosthetic Records that the next release would be Terminal Aggressor II and the label were at all times informed and agreeable.

Unfortunately and upon completion, Prosthetic Records refused to release the recording unless Dragged Into Sunlight agreed to provide further music, despite the agreement in place with the label.

The label then refused to release the recording, pay for the outstanding costs or artwork. 

Prosthetic Records opted to ignore all correspondence including a video released in November 2019 questioning the label’s practices.

The label then took to threatening people who offered to help or work with the band moving forward.

Yesterday – 10 January 2020 - Prosthetic Records released Terminal Aggressor II, and began collecting money from anyone who purchased a copy via Bandcamp, a page controlled and administered by the label, and not in any way ‘official’.

Dragged Into Sunlight have worked relentlessly since 2006 to continue putting out music which holds a special place for many people. 

Terminal Aggressor II took over 3 years to put together. Yet, Prosthetic Records feel that the correct recourse is to ignore questions from their artists, release their music without discussion and sell the band’s work for $5. 

It appears that Dragged Into Sunlight were correct in concluding that the label had continued to treat them poorly and cheapen their music.

The unfortunate reality is that this is The Problem With Music.

Dragged Into Sunlight have stated on social media that the best people can do is to listen to the record, enjoy and share.

I am of a different view however and having known and worked alongside those involved for some time, I would like to show them how much their music and efforts actually mean during a very difficult time.

I would like to show Prosthetic Records that artists put everything into their work at significant cost to their personal lives, health and wellbeing.

 I would like to show Prosthetic Records that it is 2020 and that their approach is not welcome here.

I would like to show Prosthetic Records that fans buying music expect their favourite artists to be treated fairly and with respect.

 It is not uncommon to see fund raisers for artists who have had their gear stolen and I have always donated to those causes.  Fortunately, equipment can usually be replaced, music on the other hand cannot be replaced and often holds a very special place to its artists and listeners.

I have set up a fund to contribute as much as possible to the band’s ongoing legal, writing, recording, marketing and release expenses for the future as I know that there are other unfinished recordings.

It is time to take music back and support our favourite artists, so that they can continue doing what they do.

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Thomas Bellhouse 
Capital Office, Greater London, United Kingdom
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