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Robert Schwarz’s background lies in both architecture and computer music. Across a handful of labels, he’s presented field recordings and experimental works, and he’s participated in exhibitions with some of Europe’s most prominent institutions for adventurous art practices. He is also the co-founder and curator of the Viennese festival ”PARKEN; Or, Live in the Park”, which aims to mediate experimental forms of music in public spaces and co-author of the works ”Los Bar”, ”Strookoffer” and ”Lax Bar”, a series of artist run spaces in Los Angeles, Brussels and Vienna.

Recently he presented a row of debut releases with new side projects like She Was A Visitor, Privat and Ausgsburger Messer.

Apollo is proud to welcome Paul Frick to the fold. Frick is a Berlin-born music composer primarily known as one part of the group Brandt Brauer Frick. Stunningly despite a 20+ year history of making music 'Second Yard Botanicals' is his debut album.  With BBF keeping Frick inspired and busy since 2009, other ideas had piled up until a temporary break allowed him to fully dive into them - "While it took so long until I made my first album, it took about two months once I started.Exploring a vast number of instruments, field recording and deconstructed breakbeats woven with undulating filters and gossamer melodies, the album sees Frick drawing on the world around him in a free associative style ; "A word I sometimes had in mind was - Alltagspoesie', the poetry of everyday life," he explains. "The thought that however small and unimportant things and people are, they - or we - all hint towards each other, if not to say towards the whole. The fact that half of the pieces on the record are short miniatures has to do with that. Throwing something in and hearing what it tells.

Widely regarded as Romeo's finest work, the album is a landmark of roots reggae, combining political commentary, Rastafarian themes and Perry's distinctive dub production style. Released on Island Records, the album reflects the social and political turmoil of mid-1970s Jamaica, addressing poverty, violence, and oppression.

The record features nine tracks, including some of Romeo's most enduring songs such as "One Step Forward," "War Ina Babylon," and "Chase the Devil,".

War Ina Babylon is often grouped with other Black Ark productions as part of a celebrated trio of reggae albums from the era, and it remains one of the most acclaimed and influential releases in the genre.

Dieses Album braucht keinen Anlauf und keine Vorrede. Von Sekunde eins an ist es da. Es türmt sich auf, überlebensgroß und mit einer nahezu existenziellen Dringlichkeit. "Einmal mehr mit Dir gegen die Furcht" ist das sechste Studiowerk der Berliner Band Klez.e. Es ist von der düsteren Ahnung getrieben, dass da draußen gerade etwas kippt, und es setzt dieser Bedrohungslage etwas entgegen. Klez.e, das sind fast 25 Jahre nach der Bandgründung: Tobias Siebert (Gesang, Gitarre), Daniel Moheit (Synthesizer, Bass) und Filip Pampuch (Schlagzeug, Percussion). Waren die Vorgänger "Erregung" (2023) und "Desintegration" (2017) von einer grimmigen Düsterheit geprägt, ist diese Trostlosigkeit einer bislang ungehörten musikalischen Luftigkeit gewichen. Und es ist, als habe sich die Band beim Schreiben der Songs auch erstmals bewusst gegen die Furcht vor dem Erzählen gestemmt. An die Stelle früherer Verklausulierung ist eine neue textliche Klarheit getreten. Musikalisch ist "Einmal mehr mit Dir gegen die Furcht" eine Kathedrale von einem Album: akustisch weit, mit glatten, kühlen Oberflächen, atmosphärisch dicht und verhallt. Das Licht, das durch die Fenster hereinfällt, verdrängt die Dunkelheit und malt hier und da tanzende Flecken auf den Boden und an die Wände. Klez.e den schmerzhaften persönlichen Erfahrungen in einer sich verdüsternden Welt ein drängendes und bestürzend schönes Album abgetrotzt. Eines, das die Antwort auf die bange Frage gibt: "Was tun, wenn alles zusammenbricht?" Sie lautet: näher zusammenrücken. Gemeinsam gegen die Furcht. CD, LP klassisch schwarz sowie LP farbig.

Dieses Album braucht keinen Anlauf und keine Vorrede. Von Sekunde eins an ist es da. Es türmt sich auf, überlebensgroß und mit einer nahezu existenziellen Dringlichkeit. "Einmal mehr mit Dir gegen die Furcht" ist das sechste Studiowerk der Berliner Band Klez.e. Es ist von der düsteren Ahnung getrieben, dass da draußen gerade etwas kippt, und es setzt dieser Bedrohungslage etwas entgegen. Klez.e, das sind fast 25 Jahre nach der Bandgründung: Tobias Siebert (Gesang, Gitarre), Daniel Moheit (Synthesizer, Bass) und Filip Pampuch (Schlagzeug, Percussion). Waren die Vorgänger "Erregung" (2023) und "Desintegration" (2017) von einer grimmigen Düsterheit geprägt, ist diese Trostlosigkeit einer bislang ungehörten musikalischen Luftigkeit gewichen. Und es ist, als habe sich die Band beim Schreiben der Songs auch erstmals bewusst gegen die Furcht vor dem Erzählen gestemmt. An die Stelle früherer Verklausulierung ist eine neue textliche Klarheit getreten. Musikalisch ist "Einmal mehr mit Dir gegen die Furcht" eine Kathedrale von einem Album: akustisch weit, mit glatten, kühlen Oberflächen, atmosphärisch dicht und verhallt. Das Licht, das durch die Fenster hereinfällt, verdrängt die Dunkelheit und malt hier und da tanzende Flecken auf den Boden und an die Wände. Klez.e den schmerzhaften persönlichen Erfahrungen in einer sich verdüsternden Welt ein drängendes und bestürzend schönes Album abgetrotzt. Eines, das die Antwort auf die bange Frage gibt: "Was tun, wenn alles zusammenbricht?" Sie lautet: näher zusammenrücken. Gemeinsam gegen die Furcht. CD, LP klassisch schwarz sowie LP farbig.

“Bluegold steps into the world as a ground for trance-inducing rhythm and collective movement. Rooted in techno but never bound to it, the sound leans toward the psychedelic: loops, atmospheres, and ritual percussion that blur perception and guide the floor into altered states.
The A side comes from Mruda, written during a day of turmoil where conflict and chaos spilled directly into sound. Machines were left to chance, generating unstable pulses that mirror the volatility of the moment.

Archypness takes the B side as a counterweight, drawing the energy inward. His productions move with a meditative focus, weaving rich textures and layered rhythms into journeys that feel timeless yet deeply grounded.”

Limited edition, handstamped.

ReVINYL Random Color Edition. Concrete is a bracing jolt of a song, racing forward on a tightly wound post-punk riff, its call-and-response vocals capturing the turmoil and schizophrenic internal dialogue of the song's subject matter."It's about someone who's trapped in a relationship and they're being pummelled into surrender," says singer and lyricist Charlie Steen. "It's not about a physically abusive relationship - more an emotionally and psychologically draining one. The call-and-response vocals between Steen and bassist Josh Finerty is the central figure's own internal dialogue. They are dealing with two different things that they don't want to address."The band cite The Fall, Country Teasers, Television Personalities and Wire among their biggest influences, and the icily claustrophobic sound of Concrete sets it in a lineage with Magazine, Joy Division. As a lyricist, Steen is a modern flâneur, forensically observing the lives of others around him as they unspool and fracture, with Hubert Selby Jr and Irvine Welsh his primary literary influences. "That graphic and harsh style of writing always interested me," he explains. "It's not about the shock factor; it's about the fact they are talking about these things in such great detail without stripping anything back."The London five piece have swiftly earned a reputation as one of the most visceral and exhilarating live bands in the UK, their combustible shows being honed through a heavy touring schedule in the UK and across Europe. Cutting their teeth on the squat-punk scene in the Queen's Head in Brixton in 2015, where they were taken under the wing of Fat White Family, the white heat of their gigs quickly landed them support slots with Slaves and Warpaint. They were also personally invited by Billy Bragg to play the Left Field stage at Glastonbury this year.Following two singles - the AA single The Lick/Gold Hole and Tasteless on Fnord Communications as well as the digital-only Theresa May-baiting Visa Vulture (described by Steen as "the worst love song ever") - Concrete is the first track to be released as part of their record deal with Dead Oceans."We started this band as a joke that went too far," deadpans Steen. "What we do is quite strange and quite weird, but I get to meet a lot of people and I get to hear a lot of things. I am interested in the surrealism of reality."

Joji returns with long-awaited 4th studio album ‘Piss In The Wind’ via Palace Creek. The new LP cements his place as one of the most distinctive and genre-defying artists of his generation, balancing haunting melodies with gritty yet atmospheric production. The album captures the quiet contradictions that always defined his music, wrestling inner turmoil into something strangely beautiful. Features “PIXELATED KISSES,” “Past Won’t Leave My Bed,” and more.


Joji kehrt mit seinem lang erwarteten vierten Studioalbum „Piss In The Wind“ zurück. Die neue LP festigt seinen Platz als einer der markantesten und genreübergreifendsten Künstler seiner Generation, der eindringliche Melodien mit einer rauen, aber atmosphärischen Produktion in Einklang bringt. Das Album fängt die stillen Widersprüche ein, die seine Musik seit jeher auszeichnen, und verwandelt innere Unruhe in etwas seltsam Schönes. Mit „PIXELATED KISSES”, „Past Won’t Leave My Bed” und weiteren Titeln.

Rhiza Semar presents its fourth chapter with Yildizlara, a four-track odyssey shaped from shadow, rhythm, and elemental texture. Crafted as both visceral tools and introspective journeys, the record navigates between ominous density and luminous release, guided by a deep awareness of space, myth, and matter. As an artist, Hitam paves the way for a new sound emerging from his burrows to build bridges between electronic subgenres while shaping a landscape unmistakably his own. Orb Weaver opens the cycle with jagged IDM rhythms that coil and release like threads of a web pulled taut. Originally composed for the graduation project of fashion designer Tim van der Plas, who's collection was inspired on climbing out of depression, its atmosphere is dark and ceremonial, with textures scraping against silence until catharsis emerges from the tension. A confrontation between inner turmoil and release. On Vanishing of the Anasazi, cavernous reverbs carry traces of lost structures, percussion echoing as if across ruins. A relentless drive holds the ghost of ritual processions, summoning a spectral energy that feels at once monumental and hollowed-out. The track suspends itself between presence and absence, architecture and collapse, leaving the listener in a space where echoes become the only surviving form of memory. Mesh Grip plunges downward into subterranean force. A thundering groove rumbles like minerals being unearthed, goblin-like figures at work in hidden shafts, chiseling away at stone in endless rhythm. From this pressure, a sudden swell of melancholy pads rises, reframing the heaviness with emotional resonance as if the whispers of angelic guardians seep into the caverns, transforming extraction into elegy. What begins as pure drive of endurance evolves into an introspective meditation. Closing the release, Yildizlara unfolds as an epic ascent. Layered rhythms rush forward with urgency, intricate yet propulsive, while chopped vocals bring back a sensual human element, scattering like signals across the night sky. Animalistic atmospheres dart through the mix as spectral cries and furtive movements, adding a primal dimension to the drive. What begins as erratic and untamed slowly converges into warmth and ultimate catharsis: a cosmic tale inscribed in sound, both intimate and monumental, familiar yet born of hidden memory. Yildizlara is both innovative and ancestral; a release where turbulence becomes ritual, and where rhythmic complexity unearths fragments of hidden memory. Beneath its dark and erratic surfaces lies a strange familiarity, like echoes of a primal past resurfacing through sound, reminding us of worlds once known but long concealed. Words by A. Veyra

Joji returns with long-awaited 4th studio album ‘Piss In The Wind’ via Palace Creek. The new LP cements his place as one of the most distinctive and genre-defying artists of his generation, balancing haunting melodies with gritty yet atmospheric production. The album captures the quiet contradictions that always defined his music, wrestling inner turmoil into something strangely beautiful. Features “PIXELATED KISSES,” “Past Won’t Leave My Bed,” and more.


Joji kehrt mit seinem lang erwarteten vierten Studioalbum „Piss In The Wind“ zurück. Die neue LP festigt seinen Platz als einer der markantesten und genreübergreifendsten Künstler seiner Generation, der eindringliche Melodien mit einer rauen, aber atmosphärischen Produktion in Einklang bringt. Das Album fängt die stillen Widersprüche ein, die seine Musik seit jeher auszeichnen, und verwandelt innere Unruhe in etwas seltsam Schönes. Mit „PIXELATED KISSES”, „Past Won’t Leave My Bed” und weiteren Titeln.

Delta Funktionen returns from a 5-year hiatus with a fiery new EP on his own Radio Matrix label. Four powerful, yet deep and somewhat dubby cuts that perfectly balance techno and stronger house. With this new EP, Delta proves he's a unique voice in the world of electronic music, one who maintains consistent quality in his output while being very diverse in his sound palette. The music is often straightforward, though there's still plenty of depth to be found. It's serious, yet very playful. It's grounded, but also very spacey. And all is presented in very solid mixdowns. All these ingredients combined make this an EP that will fit perfectly into the DJ bags of the true DJ soldiers.

The Dynamite Coorporation is the brainchild of Robbert Peperkamp aka @infestmusic and Tommy Willetts aka @thenightservicecommute. After meeting in music school their joint interest in jazz, breaks, tape and dark cinematic soundscapes resulted in a collaboration that led to this fantastic album.
Expect dark cinematic soundscapes, Drums, trumpets, guitar, keys and resample madness.

After over a decade away from making music, Greek-born musician and composer Giannis Gogos is back. It was the turmoil of the pandemic that allowed him to reconnect with making music after years working in photography and now he's combining analogue and digital sound with intricate melodies and plenty of keyboards, glockenspiel, kalimba and guitars. This latest album is enhanced by oodles of delay and reverb effects and makes for an ethereal journey inspired by Henry Corbin's Man of Light in Iranian Sufism. It explores light as a symbol of divine presence through serene, introspective soundscapes.

'Yara Asmar’s new album presents 11 pieces recorded over the past year between the small town of Alfred in upstate New York and Beirut. These sometimes fragile and tentative sound sketches reflect the times as Yara steps out, as if onto ice, into a new life on a new continent during a time of tragedy, turmoil and upheaval. She works with unfamiliar instruments, new materials and new sounds to build on her intimate style; homemade mechanical music boxes and a personal archive of family recordings form the backbone of its delicate textures. Asmar explores the peculiar resonance of the metallophone and her collection of deconstructed toy pianos, and guides her music into ever more surreal territories. The result is a work that is dreamlike, fragmentary and strangely timeless.'

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.

Across six tracks, a dream unfurls into sound – patterns emerging like scattered water droplets, a flowing dance of chance and texture. For Turmalin Dub, Tom of Terram (Hektisch Sprengen) teams up with Listensport. This EP flourishes in the fertile space between the organic and the synthetic, where textures breathe and rhythms pulse like living beings. It is shaped by five original creations and a ’90s-inspired French Dreamspell house remix by RAMZi, carrying the timeless spirit of the dancefloor. Turmalin Dub stands as a musical crystal, refracting light into deep colour and pulse; a fortress for the spirited and unconventional, an elegant tapestry of sound. The opening track weaves psychedelic hues with Balearic warmth, dubwise basslines, and whispers of slippery roots-reggae dub. Trance-inflected echoes flow together like water: from immersive ambient waves to intricate patterns and softly blurred dub techno. The release closes with Spirit, a track echoing the warmth and sway of trancehall, bridging introspective moments and the kinetic energy of a floor in motion.

Today, Manchester’s Maruja announce their highly anticipated debut album ‘Pain to Power’, due for release by Music For Nations on 12th September and produced by Samuel W Jones, who the band worked with on their three EPs to date. The extraordinary eight track collection not only confirms the four piece as a creative force of nature but finds a deeply emotional and empathetic band concerned primarily with the power of community, both in the nuclear sense, as a tight knit creative unit, but also as a wider force for social and political change in the age of the individual.

Maruja believe passionately in the ability of art to empower, heal and unite and have created a body of work with ‘Pain to Power’ that they hope will offer both strength and an emotional release to anyone who is struggling with the impact of years of political turmoil and social isolation.

Makhunik Records Presents: "Withdrawals" - A Bold New Vinyl Release by RAKANS Withdrawals, the highly anticipated follow-up to Emergence EP and Deep State (Midnight Stallion) EP, marks a bold new chapter in RAKANS's ever-evolving sonic journey.

Set for release on I Makhunik Records, Withdrawals explores the tension between desire and detachment, featuring five tracks that blur the lines between electronic, experimental, and club sounds. Available on vinyl, Withdrawals invites listeners to experience the raw and intimate emotions that inspired its creation. Following the success of Emergence EP (Gently Leftfield Techno from a Core Dresden Artist - Resident Advisor/Single Review by Andrew Ryce) and Deep State (Midnight Stallion) EP on Boudica, which gained recognition for their atmospheric intricacies and deep, immersive textures, Withdrawals delves deeper into personal and societal themes, paired with the artist's signature ethereal soundscapes and captivating beats. Each track carries a narrative, from late-night reflection to hedonistic encounters, with a pulsating intensity that mirrors the artist's own process of creative and emotional release. With Withdrawals, RAKANS continues to push boundaries, creating a profound listening experience that resonates both in its melancholy and its intensity.

Description of the Title: The title Withdrawals reflects a state of emotional and mental transition, where one is caught between the craving for connection and the unsettling effects of isolation. It symbolizes the artist's inner turmoil and process of reclaiming personal agency after experiences of burnout and separation. The tracks are an expression of that journey-tracking the highs and lows of life in a world that constantly demands more. Through these melodies, RAKANS has captured the intensity of longing and the aftermath of desire, inviting listeners to confront their own internal conflicts. The narrative is personal yet universally relatable, and the title speaks to the often painful but necessary process of letting go, detoxifying from past habits, and learning to be at peace with oneself. "With Withdrawals, He wanted to channel the emotions that often come from the struggle between desire and self-preservation, between the drive to connect and the need to retreat. he's journey, both as an artist and as an individual, has been filled with moments of intense reflection, self-discovery, and sometimes, disconnection.

These tracks are the culmination of that inner conflict, a raw exploration of what it means to both lose oneself and find a deeper, often painful, form of clarity. Like the music he's created before, the sound of Withdrawals speaks to the space between tension and release, the liminal space where truth is often revealed in its most vulnerable form. He's always believed that music is a mirror to the soul, and in this EP, He's tried to reflect that feeling of being both pulled in and out of something greater. It's a raw and intimate look at the way we navigate modern life, often feeling like we're running toward something that we can't quite reach, yet constantly pulled back into our own personal truths.

This EP is personal, but it's also for anyone who's ever felt caught between two worlds, the one they want and the one they need. I hope it resonates with listeners who are experiencing their own form of withdrawal, whether it's from people, places, or even from themselves.

Butterfly Records is proud to release a vinyl reissue of Radio Babilonia, the fourth electrifying studio album by Uruguayan alternative band Traidores. The album was originally released on CD and cassette in 1995 and it stands as one of the most representative works of their career. In Radio Babilonia voices of Juan Casanova and Víctor Nattero converge into a symphony of intense emotions and profound reflections. Each note resonates with their musical legacy, rising as a testament to the reality that surrounded them, where pain and beauty intertwine in a powerful auditory experience. With a style that defies convention, their lyrics transport us to a world of poetic chronicles, inviting us to explore the catastrophes of the present and future through their vibrant and critical lens. This album from 1995 is a masterpiece for those who seek an authentic and moving sound - a sonic journey that reflects its time and makes a bold statement. Released in August 1995, Radio Babilonia opens with its title track- a sonic storm that sets the tone with poetic urgency and avant-garde defiance. Songs like "Máquina" and "Crónica del Sur" explore inner turmoil and fracture realities, wrapped in melodic brilliance and sharp arrangements. Nattero's guitar work shines, especially in tracks like "Ella sabe bien" and "Pasajero de un tren," where a sense of déjà vu echoes through the lyrics. Side A closes with the haunting waltz "Como una plegaria," evoking blood-stained devotion. Side B deepens the album's mystique, offering lucid hope through punk anthems like "Enemigo del mundo" and "Fragmentos de mí." It culminates in the defiant "Canción rebelde": "There is no worse evil than chaining oneself to pain." Traidores channel poetic rage into a powerful, redemptive soundtrack for a disenchanted era.