2018 re-edition of this classic CP, now covering both the original 1977 "Elektronski Studio Radio Beograda [PGP RTB ‎2513]" single-LP collection AND the 1985 "Elektronski Studio Radio Beograda [PGP RTB 3130037]" 2LP set across two discs (the first offers all of PGP RTB ‎2513, with the A-side of PGP RTB ‎2513 tailing at the end followed by sides 2/B, 3/C, and 4/D of PGP RTB 3130037 on disc two) complete with two 4-page booklets (one of the insert for [PGP RTB 3130037], and another of the gatefold of the same, either made legible, albeit only via the fresnel lens that comes w/ either complete "Creelpolation" variant or the "Found on the Elevator" title) ...

These compilations were the first to offer pieces from the Serbian electronic music studio “Elektronski Studio Radio Beograda” into a global consciousness & they act as the high water mark of the studio's output, with work from Paul Pignon (his “Hardware Performance” trilogy & "Hendrix"; the former supreme, distant analogian bleep of the highest order, the latter proto-plunderphonics & just absolute tape-speed mayhem), Vladan Radovanovic (the high-spec mutating bell-klang orbits & chopped-up ghost-vocal rituals of the opener "Electra" & the garbled voices & tape-mutant spec of "Audiospacial"), Natko Devcic (the aleatoric clusterings of scattered stereo-field bleep of "Sonata"), Josip Kalcic (the dark, filtered-out buzz, culminating into a dense bed of sliding-scale histrionics of "Duboki Do"), Ludmila Frajt (the ghastly waver & pregnant pause-eruoptions of "Nokturno"), Lojze Lebić ("Atelje 2"), Dragoslav Ortakov ("Eleorp"), Miloš Petrovic ("Lei Parla Italiano"), & Josip Magdić ("Apeiron E"), all a unique, event-heavy, early-mid 70s, south-Eastern European variant on the techniques & compositional acuities forged (largely) in the northwest over the prior decade.

All of this music is intensely fascinating & this replica edition should fill in the gaps in your understanding of the Yugoslavian Experimental Electronic Music scene, with all era aesthetics left intact & not a shred of revisionism (why mishandle perfection...