Vinyl & Download:
https://sectra.bandcamp.com/album/counter-culture-ep

Sectra - A Demon In My View

Where U At

For his next EP, Belgian producer dybbuk takes us on a 25 minutes trip between experimental ambient sounds, horror movie synth pads, drums, and of course bass.

Read more on CxC 🔗 https://couvrexchefs.com/en/dybbuk-interloper-herbal-bride-montage

Article

PREMIERE: dybbuk - Herbal Bride (MONTAGE)

Written, produced and mixed by @glassglassmusic and @maoupa-mazzocchetti
Mastered by Lorenzo Targhetta
Artwork by 530° Agency
USB flash drive design by Roman Crouigneau
PRMSSS036
℗ & © 2024 Promesses

"French electronic duo Glass and producer Maoupa Mazzocchetti joined forces for their first collaborative release: 'Y Head', a 9 track album including remixes from Swiss artist NVST and New-York based Morrocan composer Bergsonist. Glass and Maoupa deliver 7 heavy hybrid club bullets where glitchy sound design melts with epic synths and deep basses. The two remixers were invited to cut up and reinterpret the tracks 'Rue des Rosiers' and 'Near Bones'."

BUY USB or DIGITAL

Glass & Maoupa Mazzocchetti - Hydrate

From 'Erupting Color', out May 31st on All Centre.

YOU BUY NOW: https://despina1.bandcamp.com/album/erupting-color

Where do you get the gall? The gumption and the stones? The arrogant force of je-ne-sais-quoi to operate the way you do? With reckless abandon? Nary a care? Perhaps from 'City in Plastic', the Despina song from the forthcoming All Centre EP 'Erupting Color'. Where do you listen to and engage and share widely and also cop the release? Link above? Ok.

YOU WILL BUY

Despina - City in Plastic [MK PREMIERE]

『 𝓢𝓦𝓘𝓝𝓔 𝓟𝓡𝓔𝓜𝓘𝓔𝓡𝓔 』@j_moy via Amsterdam-based label @sann-odea

Justin studied architecture at TU Delft and graduated from MSc Arch in 2022. During his graduation project, he explored the architecture of nightclubs and the cultural importance of these spaces as places for imagining alternative worlds. 

jmoy applies these theories into his work. The music resulting from this is a sonic journey traveling through a sequence of imagined space, transitioning between interiors, exteriors, and the thresholds between them.

✿ ✿ ✿

Bandcamp

[Swine Premiere] jmoy - Sentia (Sann Odea)

From 'Escape From the Club', out October 18th on All Centre

YOU'RE BUYING: https://alecpace.bandcamp.com/album/escape-from-the-club

@alecpace 🍾
@all-centre-504822953 🥃

I'm so proud of you. Mouthbreather. Blotchy skin. Poor coordination. Marsupial-level intellect. Slow walker on the wrong side of the airport walkways. Seweresque reek. Dull eyes, too-long tongue, club-footed bone spurs. So, so, stupid. But you've listened to Alec Pace's 'False Claims'. You've liked, engaged, shared, reposted, evangelised yourself raw. It's out on All Centre. I'm proud of you.

you're buying

Alec Pace - False Claims [MK PREMIERE]

nastynancy - whachu doing

Taken from SBKT066: Prettybwoy - Tokyo Ice Age
Release date: 5th February 2025

Our first release for 2025 is ‘Tokyo Ice Age’, a new EP from Prettybwoy. 5 warped club tracks, packaged with remixes from aya and Proc Fiskal, artwork by Downstate and mastered by Raphael Valensi.

‘An ice age is a cycle of roughly 100,000 years that Earth has been undergoing for at least the past million years. I’ve been reflecting on these cycles and the way life resets or disappears over time. When my grandmother passed away, I found old photographs and handwritten documents—faded pieces of history that offered me a brief glimpse into my family’s past. Ways of living, even since my own birth, are changing rapidly, and many things are being lost or disappearing forever.

The term "Ice Age" also refers to Japan’s Employment Ice Age, a period between the mid-90s and early 2000s, following the collapse of the country's 'Bubble Economy.' During this time, many young graduates and displaced workers struggled to find stable employment. The generation impacted by this era, known as the "Lost Decades," is often referred to as the ‘Lost Generation’ or ‘Ice Age Generation.’ I belong to this generation.’

Artwork by Downstate
Mastered by Raphael Valensi

Prettybwoy - Tokyo Ice Age

dru-1’s “preshuh” was composed in the artist’s home of Trinidad during Carnival of 2024. Reflecting on the experiences and influences that shaped the record, UK-based artist Drew Lovett recalls inviting friends to stay with their family during the festivities, experiencing overproof rum, pan bands, card games, and doubles. Community and a celebration of sociality seem to shimmer through the EP’s bass-ridden tracks, evident not-least in the prominent sound bites and vocals recorded on-site from those close to the artist during the Carnival.

The project unfolds across six tracks, each composition draped in FM synthesis and layered over gritty basslines. “preshuh” builds upon the
vision realized in the artist’s debut project, a 4-track EP released on Why Be’s Yegorka in 2024. This record punches with more technical precision, making a mature statement that feels cohesive and intentional, while retaining its playful essence. Lovett collaborates with Marta Rosa on percussion for the final three tracks—“maco queen,” “palance,” and “a4s.”

Despite its moody basslines and clear roots in the UK club scene and Hard Drum, Lovett’s EP is infused with a spirit of optimism and revelry. The EP opens with echoes of “toma!” and other indistinct cries, as timbale taps gradually build alongside jerky basslines in “diastema.” The subsequent track “corbeaux,” takes a more atmospheric approach, leaning further into lush melody progressions. Breath-like chirps fade in and out of the mix, allowing different melodic and percussive elements to shine at various moments. “Libido” calls the listeners to commune on the dancefloor, led by a steady four-on-the- floor rhythm. The hypnotic chant, “We come together,” repeats with quiet assurance, woven through a backdrop of filtered basslines and dissonance. Crunchy, sputtering synths wind in and out of the soundscape, teasing a sense of chaos and rapture, grounded by the steady rhythm beneath. In “maco queen,” the record seems to reach a point of climax; jittering bass sounds overtake the atmosphere immediately. “Hey!” and “Ha!” shout over the flurries, punctuating the frenzy, while intricate low-end patterns and hand drums introduce moments of organic warmth. Percussive taps and clinks imagine an impromptu gathering of people jamming together. Here, Lovett seems to call us to let loose, to shout, to dance, to revel in excitement. The fifth track, “palance” unfolds over a steady four-on-the-floor rhythm, with intertwining synth lines that emerge and recede unpredictably, engaging in a dynamic interplay akin to an animated conversation among close friends. The EP concludes with “a4s,” a vibrant, infused with Soca and Dembow breaks track that brings key elements from earlier songs—vocals, claps, and heavy basslines—crafting a dynamic yet cohesive finale.

Experienced in full, Lovett’s EP is a call to togetherness—a sonic invitation to gather, move, and celebrate without restraint. Infused with the frenetic energy of the carnival where it was conceived, the project unapologetically embraces the dancefloor, urging bodies into motion, and spirits into communion. Beneath its pulsating rhythms lies
a deeper longing—not just for revelry, but for connection. In a world still relearning the rhythms of closeness, it asks: How do we rebuild the spaces where joy and community once thrived? 

Artwork by Lucas Owen
Mastering by TB-Mastering
Words by Manolis Elijah Sueuga

dru-1 - corbeaux

Got totally side-tracked trying to finish my own song — ended up hyper-focusing in Ableton and spiralling into this weird little gem instead. Procrastination at its finest.

This one’s an experimental house track that’s definitely not for everyone. It features vocal samples from vlogger Sacha Slone, taken from her brilliant and hilarious breakdowns comparing Borderliners and Narcissists — clips that are both empowering and painfully accurate.

The speech hit me hard. It goes beyond conventional mental healthcare, where narcissistic abuse awareness is still barely on the radar. As someone living with BPD, it gave me this rebellious, confident spark — the same energy that inspired the lyric from my own track: “Crushin’ shady bitch narcs.” It’s cheeky, maybe a little stigmatizing, but also cathartic as hell. If you get it, you get it.

Borderliners are among the most misunderstood and stigmatized, while narcs/sociopaths/psychopaths often thrive in power — even in creative industries. I’ve seen it firsthand in the electronic scene in Amsterdam. These videos — Slone is a form of radical self-care, while stuck on the GGZ /therapy waiting list (forever, lol).

Still a work in progress — just learning to play, sample, and let the drama and energy take over. Also… I needed a break from hearing my own voice for once.

Maybe this is the direction I’m heading — a little chaotic, a little funny, and very real.
(Also check: “Lovebomber” & my Gabber remix if you’re curious where this madness leads.)

“Badass BPD Bodyguard” – Experimental Tech House (feat. Sacha Slone Speech)

compiled, organized, and managed by 
@manap00l + @danirev

nastynancy - whachu doing

ღ†ChaoGardem†ღ