Rudolf C
Globular Ep

For our eighth release we are proud to host the Madrid-based producer Arnic with his first full record on tresydos. A familiar face of our label, Arnic not only plays regularly at the tresydos showcases in the Spanish capital, but also already appeared on a VA and delivered a mix for our podcast series. From the start of the record, the style is strikingly groovy and deep, combining captivating funky basslines, sharp house rhythms, and jazzy harmonics. While some tracks come across as perfect ‘hands-up’ club gems, the production on this record shows a lot of depth to it, encompassing elegantly suspended atmospheres, softly psychedelic touches in its synths-work, and even some downtempo beats. Arnic’s tresydos record debut escapes easy formulations in favor of a strong personality in every single track - tresydos008 is a quality and versatile record not to be missed.

ITRIA VOL.3 is a slow techno-inspired cosmic journey that condenses in a single orbit a great cast of artists coming from different galaxies. It marks an evolution in sound and mood, taking us to a deeper and more visceral dimension.The first track by Interstellar Funk is a 100% pure electronic mind-trip, a machined groove where thoughts still roam frenetically paves the way for a more intimate experience.Tamburi Neri’s downtempo track shapes a space-time portal in which to sink; their sound is like a beat echoing from the bottom of the chest and spreading to the tips of the fingers softly.For the first time, Salamanda co-works with Polifonic framing a Korean unknown soundscape, an ambient loop track through which we break away from this dimension and move towards the exotic.Hiver restore a connection with reality through their pulsating bass. The heartbeat speeds up, but we still float into a dreamy techno atmosphere.Claudio PRC & ZIPPO come into play with a powerful combination of techno textures that gets us to resurface and awaken the senses.

Far over on the west coast of the USA we find a room full of drum machines, samplers and keyboards. Hard at work is Israel ‘Iz’ Gravning aka Tone Scientist, who’s been using this Seattle studio to produce genre-defying future music for more than 25 years.An avid student of jazz fusion, hip hop, house, techno and others, he was galvanised to build his own studio after hearing jungle and drum & bass on a trip to London in 1995. His musical course thus intersected with the collectives then pushing new dancefloor sonics rooted in the rich tradition of Black music – like Nuyorican Soul over on the east coast, and the new broken beats of IG Culture, Dego and Bugz In The Attic in London. Then, in the early 2000s, Iz put out a handful of EPs under different aliases, including ‘Lion Dub’ on the Guidance sublabel Subtitled, but soon stepped back from the public stage. That’s not to say he stopped making or playing music, though. Far from it.Fast forward two decades and our very own Walrus, chilly but happy in the depths of a Toronto winter, happened across ‘Lion Dub’ in the legendary Play The Record store. Intrigued, he tracked Iz down and discovered he had been active all this time. A short email exchange later and this 2xLP of archive material was born.These six tracks explain fully why Iz calls his studio the ‘Time Machine’: vintage equipment and instruments converse with up-to-date software; classic sounds and textures twist into fresh configurations; and Iz’s own creativity and musicality sings to us from a location beyond the trappings of time or genre.All music written, produced and mixed by Israel Gravning aka Tone Scientist in Seattle/Washington between 2005 - 2008 except for “Things Get Done”, written and produced in 2003, and “Bossman”, originally produced by Kris Moon and remixed by Tone Scientist. Zion12 was the name used by Israel for releasing Jungle/DnB and when DJing professionally around Seattle and elsewhere. Mastered & cut by Stefan Betke at Scape Berlin. Brought to you by Crevette Distribution Brussels/Belgium. All artwork by Camiflage. Printed by Bichel at Chromodrome Brussels/Belgium. Liner notes by Joe Delon. Israel would like to thank Mom, Dad, my brothers Gabriel & Jagger and their families, Cord, Andy, Kiva, the Ninjas at DSF, the Grid crew & the Great Spirit. Basic Moves would like to thank Jakob, Pim, Camiel, Boudewijn, Deg, Ailsa, Mike, Jordan, Kimcom & Joe. Keep buying records/don’t stream your life away. Underground club culture: one love/one circle.

SAISEI founder Junki Inoue continues his vital archival work uncovering the riches of Japan’s distinctive electronic music scene and bringing them to new audiences around the world.
The PMA EP compiles four dynamic tracks recorded around 30 years ago by the duo of Shigeru Nakamura (drums/vocals) and Mikio Kato (synths) aka B-2DEP’T.
Nakamura and Kato’s first album as B-2DEP’T, Products Plus, appeared on cassette in 1993 on Trigger Records, the predecessor label to Transonic (given a retrospective on SAIS004). Its bright yellow and blue retro-futurist artwork – which is echoed in the design for this reissue on SAISEI – matched the sounds held within: inventive, out-of-the-box dance music blending overseas influences with an idiosyncratic Japanese sensibility.
Two tracks from Products Plus appear on this EP, All tracks re-edited by Junki Inoue and regular collaborator Yuzo Iwata for vinyl extended play and available now for the first time on vinyl. ‘Clockwork Giant Panda’ appearing in a version co-produced with Yoshinori Sunahara (ex - Denki Groove), merges a breezy US house groove and bassline with twinkling, almost parodic Japanese keys that act as a kind of meta commentary on Western perceptions of Japan (a concept pioneered by Yellow Magic Orchestra). The two parts of ‘BSMH’, or Body Sonic Mental Health from ‘Products Plus’, were originally remixed by Daishi Hisakawa of Tanzmuzik, who draws on darker sounds from Europe and the UK: restless Depeche Mode synth harmonies spiral above a pacy EBM pulse, with robot vocals intoning the titular slogan. The package is completed by the unreleased track ‘PMA’, whose driving, bass-heavy mood falls somewhere between Sheffield bleep and the ambient techno of early Biosphere.SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan.

Needs - Not For Profit moves into the future of vinyl production partnering with Green Vinyl Records in Holland to produce the world's first 100% recyclable record. With 4.3m vinyl sales in the UK last year (the 12th consecutive year of growth), it’s clear that vinyl is back in a BIG way. But the basic technological principles of record pressing have not changed for a century and it now poses a more urgent environmental concern than it did in the format’s heyday. GVR are a brand new pressing plant who have patented a revolutionary production method which uses injection moulding rather than steam energy, using 60% less energy than traditional vinyl production. It also uses no PVC (meaning it cannot warp), has a wider frequency spectrum & longer lifespan, and is a 100% recyclable product, meaning you can dispose of it in your home recycling bin. This big step in vinyl history features the production skills of Saoirse, Reptant, Sansibar, Pugilist, LUXE and Hassan Abou Alam.Join us as we change the future of vinyl <3

We're beyond excited to be announcing the next release on our Classic Cuts series, pertaining to none other Israeli duo, Red Axes. The Tel Aviv techno stalwarts are veterans of the scene, over the years honing an inimitable sound which draws on a unique concoction of influences ranging from post-punk and EBM to disco and new wave.As is encapsulated in the title, Electric Bees EP focuses on constructing strange, uncanny worlds which at times are disorienting, spooky and hostile ('The Electric'); and at others transportive to times past. 'Next One Is Bill' and 'The Bee' combine the retro quality of squelchy, square wave acid synths with an uber-polished production value to see a modern take on the classic sound, whilst 'Axes In The Sky' sees the EP's energy climax. Set apart from the rest of the tracks with a BPM of 130 and distinctly contemporary feel, it gives you a whiplash tour around a myriad of sounds, taking sharp and unanticipated corners at each breakdown.