[CP 139 CD] Elektronski Studio Radio Beograda [PGP RTB 2513], [PGP RTB 3130037]Creel Pone
CP 139 CD
Double Compact Disc-Recordable
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, made legible, albeit 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...)