Suche:creep

Info: Slow-burn funk, tribal wrong-speed chug and a boogie-disco breaker — three floor-fillers that creep, groove and bounce.



A low & loose opening with a reworking of 'Night People' – with intro and outro stretched, drum breaks extended, and percussive overdubs layered - the EP sets the tone with a warm-up tool that fills a floor almost unnoticed at 98 BPM. From there, 'Lions' prowls as a 45rpm slowed down to a hypnotic, percussive workout laced with chants and tribal drive, closing with 'Breakin’, a rogue boogie–disco hybrid bursting with bongos and breakbeats: Absolute DJ fuel.

Fresh from annihilating EU/UK audiences with his steppas tropicalia on the Bokeh Dekalog tour, Felinto presents a crazed vision of Sao Paulo party punk - industrial scuzz, dub squelch, grinding guitars and riot-ready vocals.

Festa Punk is a call to rage, to ritual, to celebration — as forms of resistance against the grim, creeping global fascism. It’s a shout to bend time, to create moments that shake off erased identities and flip the script on a world that treats violence like gospel.

It's also a homage to Brazilian hxc heroes, Os Replicantes, whose classic 'Fest Punk' appeared on the '87 LP Histórias De Sexo E Violência.

15th Anniversary Edition. Black Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

the third release came down2earth.
d2e003: keep creepin’
a combined effort of percussion driven shakers by naone and denial.

Le Corbeau, the brainchild of Oystein Sandsdalen (Serena Maneesh), has become a formidable collective. here with a trilogy of albums spanning eight years. Why such a productive group choses to release twenty-seven songs simultaneously may be a greater reflection on the myopic nature of record labels -The mystic deities of noir have returned. "The band"s sound bows to the vestiges of V.U., Sonic Youth, and Lynchian glamour- but each of the three albums show ambition to go beyond, by player freedom and improv, exploring textural layers, and nuancing each groove. Many songs remind us what we loved in 2009`s Evening Chill / Montreal of the Mind - surrealistic, seductive, draped in velvet. Some circle to the familiar with punk fuzz and playful themes, like "1000 eyed behemoth": about leaving Oslo"s night life behind. Other times, they are creators of their own classics. Opening track to VI: Sun Creeps Up the Wall, "Blossom with an Evil Light" recorded between 2017-2018, illuminates a a new path of change. The long anticipation is over- come enter the murky and magical waters of Le Corbeau." -Ann Sung-an Lee

Live recordings of Humble Pie featuring both Steve Marriott and Peter Frampton are rare. These seven tracks, recorded in excellent quality by the BBC, show Humble Pie in their element onstage. The setlist includes cover versions such as Four Day Creep, Hallelujah I Love Her So and I Walk On Gilded Splinters which were not included on any studio LP. Comes with full recording details and extensive sleeve notes.

Le Corbeau, the brainchild of Oystein Sandsdalen (Serena Maneesh), has become a formidable collective. here with a trilogy of albums spanning eight years. Why such a productive group choses to release twenty-seven songs simultaneously may be a greater reflection on the myopic nature of record labels -The mystic deities of noir have returned. "The band"s sound bows to the vestiges of V.U., Sonic Youth, and Lynchian glamour- but each of the three albums show ambition to go beyond, by player freedom and improv, exploring textural layers, and nuancing each groove. Many songs remind us what we loved in 2009`s Evening Chill / Montreal of the Mind - surrealistic, seductive, draped in velvet. Some circle to the familiar with punk fuzz and playful themes, like "1000 eyed behemoth": about leaving Oslo"s night life behind. Other times, they are creators of their own classics. Opening track to VI: Sun Creeps Up the Wall, "Blossom with an Evil Light" recorded between 2017-2018, illuminates a a new path of change. The long anticipation is over- come enter the murky and magical waters of Le Corbeau." -Ann Sung-an Lee

Le Corbeau, the brainchild of Oystein Sandsdalen (Serena Maneesh), has become a formidable collective. here with a trilogy of albums spanning eight years. Why such a productive group choses to release twenty-seven songs simultaneously may be a greater reflection on the myopic nature of record labels -The mystic deities of noir have returned. "The band"s sound bows to the vestiges of V.U., Sonic Youth, and Lynchian glamour- but each of the three albums show ambition to go beyond, by player freedom and improv, exploring textural layers, and nuancing each groove. Many songs remind us what we loved in 2009`s Evening Chill / Montreal of the Mind - surrealistic, seductive, draped in velvet. Some circle to the familiar with punk fuzz and playful themes, like "1000 eyed behemoth": about leaving Oslo"s night life behind. Other times, they are creators of their own classics. Opening track to VI: Sun Creeps Up the Wall, "Blossom with an Evil Light" recorded between 2017-2018, illuminates a a new path of change. The long anticipation is over- come enter the murky and magical waters of Le Corbeau." -Ann Sung-an Lee

Doppel-LP auf Galaxy Opaque Vinyl im vollfarbigen Sleeve mit bedruckter Innenhülle

2025 REPRESS

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

Mit ihrem 2025 erscheinenden Album »Alienated« startet Europas Nr. 1 Horror-Punk- Band The Other ein neues, aber vertrautes Kapitel. Frontmann Rod Usher beschreibt es als bewusstes »Back to the Roots«-Album mit energiegeladenen Punk-Riffs, dunklen Hymnen und Gothic-Punk-Vibes. Die neue Besetzung – inklusive Gründer Andy Only – ermöglichte die Rückkehr zum klassischen Stil.

Nach Erfolgen wie »Haunted« (2020) und der Rückkehr zum eigenen Label Fiend Force entstand ein fokussiertes, kraftvolles Album voller Spaß beim Songwriting. Produzent Tim Schulte brachte frische Akzente, während Arne Neurand den Mix perfektionierte. Songs wie »I Give You the Creeps« oder »Hier Sein« greifen Themen von Entfremdung auf. Rod Ushers tiefe, eindringliche Stimme macht Alienated womöglich zum bisher dunkelsten Album der Band – direkt, emotional und mit Herzblut.

The engine idles low. The story is almost told. Jaguar On Palisade 3 marks the final descent in a trilogy carved from fog, memory, and cold chrome — a farewell wrapped in smoke and steel.

CRIMEAPPLE weaves through late-night laments and razor-edge reflections, cruising past ghosts and gilded silence, traveling over cinematic productions by trusted collaborators: DJ Muggs, DJ Brown 13, Michaelangelo, Buck Dudley, Loman, DJ Skizz, and Comma Uno. Each beat is a scene; each bar, a flicker of something lost. There’s heat, there’s hunger, and the creeping calm of finality.

It’s not about where we’re going — it’s about what we’ve already left behind. Pressed on limited edition vinyl for those who’ve been riding since the ignition turned. No reruns. No reissues. Just one last ride.

In an intricate lattice of ever-evolving electro exploration, Samuel Van Dijk is back on Delsin with a new EP. Under his VC-118A alias, the Helsinki based producer presents a richly textured, cinematic strain of machine funk that reaches beyond dancefloor functionality to test the expressive potential locked within electro's crisp rhythmic framework. There's a melancholic mood hovering over Avian as Van Dijk allows a subtle edge of distortion to creep into his flickering drum programming. The end result is a pensive sound that touches on the moodiness of orchestral composition, unfurling patiently across extended run times without losing focus. With his characteristic attention to detail and broad dynamic range, Van Dijk continues to offer up a sophisticated, emotionally-charged strain of electro like no other.

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience. How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous? It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite, to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love. And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All the way. We can take it all the way, and never get it back. ” - Molly Nilsson Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart. Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on. When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully, making mistakes, we’re active agents against the myriad oppressions of the world. All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of her career. There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you want to? Here’s to making mistakes.

Es ist alles überlebensgroß, düsterer als der Tod und das beste Album, das die Horror-Punks von Creeper je aufgenommen haben.

Das Album "SANGUIVORE" hat Creepers ohnehin schon überlebensgroße Ambitionen auf neue Höhen geführt, was zu den positivsten Kritiken ihrer Karriere führte und in ihrem ersten Headliner-Konzert in der OVO Wembley Arena in London gipfelte. Historisch gesehen schließt die Band am Ende einer Creeper-Ära den Sargdeckel, um sich erneut neu zu erfinden. Doch dieses Mal trotzt die fünfköpfige Band den Erwartungen, indem sie das kreative Universum des Vorgängeralbums erweitert und am 31. Oktober mit "Sanguivore II: Mistress Of Death" aufs Neue ins Vampir-Universum eintaucht.

"Sanguivore II: Misstress Of Death" ist eher eine thematische Fortsetzung als eine direkte Weiterführung der ursprünglichen Geschichte. Wie eine klassische Horror-Anthologie spinnt es eine neue Geschichte aus derselben Blutlinie wie das Original, diesmal mit dem blutigen Vampirherz als roter Faden, um eine brandneue Erzählung einzuführen.
Die Geschichte führt uns zurück in die moralische Hysterie der Satanic Panic und ihre Auswirkungen auf die Welt des Hardrock und Heavy Metal der 80er Jahre. Es war eine Zeit, in der der verstorbene Prince of Darkness, Ozzy Osbourne und Judas Priest von Gerichtsverfahren verfolgt wurden. Iron Maiden spielte tief im Herzen Amerikas, während W.A.S.P. und Mötley Crüe mit ihrer skandalösen Theatralik und Dekadenz die Gemüter der Konservativen erhitzten.

Wie schon das Original wurde auch "Sanguivore II" von Tom Dalgety (Ghost, Rammstein, Royal Blood) produziert.

Es ist alles überlebensgroß, düsterer als der Tod und das beste Album, das die Horror-Punks von Creeper je aufgenommen haben.

Das Album "SANGUIVORE" hat Creepers ohnehin schon überlebensgroße Ambitionen auf neue Höhen geführt, was zu den positivsten Kritiken ihrer Karriere führte und in ihrem ersten Headliner-Konzert in der OVO Wembley Arena in London gipfelte. Historisch gesehen schließt die Band am Ende einer Creeper-Ära den Sargdeckel, um sich erneut neu zu erfinden. Doch dieses Mal trotzt die fünfköpfige Band den Erwartungen, indem sie das kreative Universum des Vorgängeralbums erweitert und am 31. Oktober mit "Sanguivore II: Mistress Of Death" aufs Neue ins Vampir-Universum eintaucht.

"Sanguivore II: Misstress Of Death" ist eher eine thematische Fortsetzung als eine direkte Weiterführung der ursprünglichen Geschichte. Wie eine klassische Horror-Anthologie spinnt es eine neue Geschichte aus derselben Blutlinie wie das Original, diesmal mit dem blutigen Vampirherz als roter Faden, um eine brandneue Erzählung einzuführen.
Die Geschichte führt uns zurück in die moralische Hysterie der Satanic Panic und ihre Auswirkungen auf die Welt des Hardrock und Heavy Metal der 80er Jahre. Es war eine Zeit, in der der verstorbene Prince of Darkness, Ozzy Osbourne und Judas Priest von Gerichtsverfahren verfolgt wurden. Iron Maiden spielte tief im Herzen Amerikas, während W.A.S.P. und Mötley Crüe mit ihrer skandalösen Theatralik und Dekadenz die Gemüter der Konservativen erhitzten.

Wie schon das Original wurde auch "Sanguivore II" von Tom Dalgety (Ghost, Rammstein, Royal Blood) produziert.

The most inspiring bands are the ones that can create a world around themselves that is about far more than just the music. The artwork, lyrics, sounds and ethos all merge together perfectly to create its own universe, a secret club. The Lovely Eggs are one such band. And against all the odds, 2025 sees them celebrate their 20th anniversary as a band! Stubbornly and heroically independent, The Lovely Eggs have forged their own path and have achieved mainstream success without ever compromising their DIY ethics. Released on their own label Egg Records, with eye watering artwork by Casey Raymond and hand packed in a black plastic bin bag on neon toxic slime green vinyl, this is yet another collectible release from a band who care as much about the art and ideas in their records as they do about the sound. "We had all these spare songs after we released our last album Eggsistentialism and we didn't really know what to do with them," explained Holly. "They just didn't seem to fit in with the vibe of Eggsistentialism but we'd recorded them and wanted to get them out there." "They're kind of a sketchbook of songs," added David. "They're not polished or laboured over but we thought it would be interesting to release them. It's why we called the record Bin Juice. These were songs we had thrown away. But hopefully people like going through bins collecting trash."

Chris Menist pares his sound right back for A book of imaginary beings, his fourth Awkward Corners outing with a project of electronic and abstracted global grooves. Experimenting with simple melodies and uncluttered arrangements, as well as taking inspiration from the Borges' short stories alluded to in the title, the project took shape in the early part of 2025, in the shorter days and dark evenings of January.

The initial challenge was to knock a basic track into shape each evening after work, then refine it later. There's a melancholy in the air in late winter, compounded by the creeping threat of national and geopolitical instability. Ulla, Natural Information Society, Jabu, Torso and Dawuna formed some of the background soundtrack as each tune took shape.

The track titles came after sitting with the sounds for a while, giving shape to images of people, creatures and their stories for a book that is yet to be written.

Two former friends sets the tone for the album perfectly as a minimal electronic piece with a slowly simmering synth bassline underpinning the groove whilst the trademark Awkward sound of the Shahi Baaja enters drenched in effects. It's the first demonstration of Chris' unique ability to create a world from apparently very little.

Dance of the silver beetles is completely unique in that we can hear chopped up Illimba samples seemingly playing backwards and forewords sometimes alone, sometimes together in duet with Chris' conga rhythms. Add to that a more conventional Illimba melody and added shaker percussion and you have one of A book of imaginary beings most curious chapters.

Anxious shadow puppets is closer to the Awkward Corners sound from previous albums as electronic pulses move around the arrangement with the urgency that the track title suggests. Chris' percussive roots move to the fore with the congas that tie down the Paradise Bangkok Molam International Band's sound. Here, the bassline is more playful and works together with one of Chris' many African Illimbas.

Fans of Chris' adventures on his Roland 808 will dig A leopard with no spots, although the minimal mood continues to flow through on this track. The lolloping, but hard-hitting rhythm track provides the grounding for strange and twisting feedback-sounding tones to work the soundscape.

Abandoned boy (left in charge of the family business) is Awkward Corners at his atmospheric best. Drift off to the sublime sounds of Chris exploring the Shahi Baaja, whilst a soft, repetitive synth line and abstracted pads give the listener that feeling of meditation and peace.

Flamingo with bandaged neck is A book of imaginary beings' perfect coda and is exclusively Shahi Baaja draped in reverbs and delays. It feels like the resolution and the closing of a book that – as of yet – remains unwritten.

Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year. Chris released – Dislocation Songs – his second LP proper with Shapes of Rhythm in May 2020, collaborating on many of the tracks with award-winning performer Sarathy Korwar. The LP was picked up by many radio stations including NTS, Resonance FM, BBC 6 Music, Balamii and many more. It made Tom Ravenscroft's LPs of 2020. Amateur Dramatics, Chris' second LP arrived just a year later in 2021 and was a more ambitious project featuring more jazz-focussed compositions and featuring Tamar Osborn and Kitty Whitelaw. Shortly after that came another pivot with the heavier, dancefloor-friendly EP Somebody Somewhere. Somebody Somewhere is Dancing in a Field brought the House (yes House!) vibes, whilst Hector Plimmer turned in a remix of No Words in the same club mood.

As one of NTS Radio's longest-standing presenters, Chris continues to hold down the Paradise Bangkok show. Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band as well as co-founding the record label of the same name. Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and has put together an edition of Volumes which featured unreleased Awkward Corners compositions.






[d] 04: All the Goodbyes (You Tried to Defer) [Original]





[j] 10: Abandoned Boy (Left in Charge of the Family Business) [Original]