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A collection of music for the various films and theatre plays by Mirko Krsticevic, Croatian and Yugoslavian composer and musician active since 1970s. All and Nothing at All (Film and Theatre Music 1978 - 1988) focuses on his work for the underground and avantgarde cinema from the era: directors Ivan Martinac, Svemir Pavic, Lordan Zafranovic, Aleksandar F. Stasenko and Vanca Kljakovic are all part of the Split Cinema Club association; their work explores art, death, sexuality and eroticism. Pavic's portrait of surrealist painter Ljuba Popovic, made in the same year as its counterpart by Walerian Borowczyk, features scenes form Beaubourg Gallery in Paris and Udo Kier as a guest. Side B of the record is all about theatre: plays by Sam Shepard, Rainer Werner Fassbinder and Jean Giraudoux were all produced in Sarajevo and Split in the 1980s, with the rare electronic takes by Mirko Krsticevic and his subtle minimalist soundings of the themes from the Cold War era. This unique and diverse compositions by founder of the rock band Metak and sound studio Tetrapak from Split, are document of the time that is, especially in the closing Chernobyl theme, relevant again. Composer, musician and musical arranger Mirko Krsticevic was born in 1948 in Sibenik. He graduated in music theory at the Pedagogical Academy in Split and then at the Music Academy in Sarajevo. He studied composition with Josip Magdic, Mladen Pozajic and Miroslav Spiler. He is the co-founder of the Tetrapak music studio in Split, where numerous performers and musicians have recorded (Animatori, D'Boys, Haustor, Oliver Mandic, Gibonni, Srdjan Marjanovic, Stil, Trotakt Projekt and others). The first group he founded was the rock group Che, which performed his own songs, in which he played bass guitar. It was founded in the summer of 1969. Together with Ranko Boban and Momcilo Popadic, he founded the Metak group in the spring of 1978 in Prigradica on Korcula. In the group, he is the author of songs and lyrics, and he also plays the bass guitar. "Da mi je biti morski pas" is the group's most successful single, which in 1980 became one of the most played songs on radio and television. Metak performed in Belgrade in front of 70,000 people, and the media declared them the best group along with Macedonian Leb i sol. In compositional work and arrangements for other pop and rock artists, Krsticevic had high commercial success with Tutti Frutti Balkan Band, Biljana Petrovic, Seid Memic Vajta, Pepel in kri, Osmi putnik, Oliver Dragojevic , Djordji Peruzovic, Henda and others. Parallel to his pop and rock career, Krsticevic composed stage and film music for 45 films, mostly collaborating with the circle of experimental and amateur directors of the Split Cinema Club (Kino klub Split) as well as the rest of the local underground scene. He is the author of stage music for 130 theatre plays, and also records his own compositions in the field of contemporary music. He wrote over 30 works for solo instruments, chamber and symphonic music. At the end of 2007, he founded the Split society for contemporary music and the contemporary music ensemble Splithesis. In 2015, he founded his own orchestra The Highway to Well Family, composed of fourteen musicians and three singers. In 2021, he founded Arthesis, an artistic organization for contemporary music and visual arts. He is the author of four operas: "Krvava svadba" (1997), "Halugica" (1999), "Atlantida - Legenda o Dan'zoru" (2018) i "Atlantida II - Lu'blis Kaoamos" (2020). He is the winner of numerous awards, lives and works in Split. Gatefold LP with extensive liner notes, Direct Metal Mastering (DMM) from original tapes, pressed at Record Industry. File under: Soundtrack, Stage, Electronica

Juan Manuel Cidrón, hailing from Almeria (Andalusia), is a legendary Spanish synthesist who embarked on his musical journey in 1976. A veteran of analog electronic sounds, his early influences come from the Berlin School of the seventies (Tangerine Dream, Klaus Schulze, etc.) and American Minimal music.

Cidrón has independently released 16 albums on his label, Extrarradio, with very limited distribution. ‘Juan Manuel Cidrón has always been immersed in music. As a child, he fell in love with a radio adorned with flashing lights – radio is now one of his professions. He was equally captivated by the music that enveloped him. With whatever little money he had as a child and during his youth, he would spend all his money on records and analog machines. Music is everything to him, and that’s why we understand his compositions as a celebration of life. The vastness that his electronic keyboards offer us is akin to the immensity of the desert, snow, and wind. Albums like ‘Tau’ or ‘Sonido Para Acciones’ belong to the realm of Spanish electronic music and are cherished by enthusiasts of sonic poetry. This vinyl edition holds a special place as it marks a return to analog, a medium Cidrón reveres and continues to embrace. In this way, it becomes a classic, a testament to his unwavering commitment to the quality that arises from the harmonious blend of natural and artificial rhythms. The result is always him: a tangible presence that brings us closer to dreams and the unadorned face of the world.’ (F. Labordeta Blanco)

‘SLG3’ is a long-awaited double album with four lengthy tracks (one per side), available in a limited edition of 300 copies. It’s the first release exclusively on vinyl in over a decade (since ‘Patagón’ on Geometrik in 2012), considering that Cidrón has mainly released his recent works on CD.’The tracks S, L, and G evoke the personal perceptions that I could imagine for each of the three elements comprising our planet in all its forms, manifestations, and presences. The track ‘3’ evokes my unique interpretation of how an imaginary being from another world might perceive Earth – its discovery, journey to it, exploration filled with admiration, bewilderment, hope, and respect. However, all of this is open to free interpretation and imagination for those who listen.’ (Juan Manuel Cidrón, 2023)

All tracks were written, produced, and mixed by J.M. Cidrón between 2017-2019 at the Extrarradio Studio in Almeria.

ERROR105 comes from Marseille based producer Magic Doz.
Being no stranger to System Error having already been featured on Party Bombs Vol. 1 followed by this year's release of his debut album on his own label Luzerna Records titled “Dynasty of Dreams - Brotherhood Of The Dragon’s Sword”.
Now we are finally ready to announce his debut release on System Error's ERROR100 Series which we’ve been sitting on for a while already.

Some of you will recognise the tracks already for everyone else you are in for a treat!

An energetic and rave sounding 4 tracker to get the dance floor up to cooking temperature and let the dancers simmer for a bit to let that spice mix in with all the sonic flavors provided by the “Underground Traffic EP”.

A future retro classic with modern touch!

"A brittle metronome in a delirious tension landscape, WOMEN'S HOUR are a Glasgow based experimental post-punk duo featuring Contort Yourself head honcho Murray CY and artist Jenny Wicks. Creating noise, harmony and disquiet washed in synth and repetitive guitar, rough beats and distorted vocals, WOMEN'S HOUR are constantly trying to embrace the shouting in their heads."

On this, their debut release, a 12 track lp, a true to form jagged 80s post-punk affair, the two piece bring to life the day to day in the grim North through their music. One can almost feel the chill coming from the brittle window panes of the dank drafty flats, filled with asbestos paint, busted heaters, and no hot water flowing for who knows how long. Desperate, urgent, coming close to falling apart, yet pulling it together to make it through to the next song...this is as "British" as it gets (yes we know Scotland is its own thing guys, don't shoot) The sun hasn't shown its face for many months, wind blows through the deserted streets, change jingles around in your pocket, a hungry dog barks. This is the music of Women's Hour.

On March 26, 2015, a surprising announcement sent shockwaves through the Belgian music scene. Noe?mie Wolfs declared her departure from Hooverphonic, the band she had fronted as the lead singer for over five years. She described it as the end of an incredible chapter in her life and expressed her desire to forge her own musical path, which she did by releasing her critically acclaimed debut album "Hunt You" a year later.

In February 2020, the long-anticipated second solo album by Noe?mie arrived, titled "Lonely Boy's Paradise," brimming with melancholic hues. Taking her time to craft and record this album, Noe?mie delivered a collection of songs that resonated even more deeply with her. At the production helm was Yello Staelens (also known as Yong Yello). With "Lonely Boy's Paradise," her confidence grew, allowing her to embrace risk and unconventional ideas. However, the international lockdown soon threw a spanner in the works, as the society shut down a day after her celebrated sold-out release show at the Ancienne Belgique. Rather than sit by, she therefore retreated to her home studio to work on new music.

Making music from the heart has always been in the DNA of Belgian singer Noémie Wolfs and yet this time it is a tad different as she's gearing up to release her third album, "Wild At Heart," in November. This time around, she joined forces again with her partner in crime, Simon Casier (of Balthazar and Zimmerman), to write and produce the album in their home studio. Despite being in the business for years, the upcoming project also immediately presented a challenge for her because this time she was involved both as a writer, but more importantly as a producer, giving the album an even more personal touch. Everything was done from an emotion or a vision, you notice and hear the love for enchanting arrangements immediately.

The ten tracks on "Wild At Heart" promise a distinct sound, enriched with meticulous attention to detail. The melodies are interwoven with dreamy, melancholic strings and an array of synths, revealing a new facet of Noémie's musical evolution. The new sound of Noémie evolved from a hip-hop-oriented use of samples on her second album "Lonely Boys Paradise" to a more electronic approach, where danceable beats with analog synths join forces with big orchestrated strings to capture the different facets of a love story.

"Strings are actually very hopeful or often form a warm blanket for many people, but can also be very frightening, oppressive, dark, and sad. It might even be my favourite instrument, which is why I definitely wanted to use them on this album. Sometimes you can even hear 42 violins at the same time, with which we wanted to capture the grandeur of Hollywood," she says about including strings.

The upcoming album is not a sonic continuation of her previous albums, but a deliberate exploration of what has always inspired her. "Wild At Heart" tells the story of two lovers who cannot live with each other, but also cannot live without each other. The dramaturgy of the album also reflects itself musically, which is immediately evident with the first single "Lonely Heart". In almost eight minutes, you feel the matchless passion in her music and her voice remains the narrative thread that makes you forget time and space around you for a moment. Noémie Wolfs' new music is therefore the perfect way to take a break from the daily grind and digs deep into all forms of romance.

"Wild At Heart" is Noémie Wolfs' reintroduction and her most personal project so far. For dreamers, lovers, and travelers.

"So A" - This song, written during the COVID-19 pandemic, carries a distinct Ghetto House atmosphere and reflects my dreams of freedom. It contains elements of utopia and was created in a dawless mode, like a timeless song. It's a solo creation.

"Jakivgusto" - Another solo song of mine, composed during the pandemic, also carries the spirit of the ghetto. This song reflects my contemplations about the moment and our inner strength during challenging times.

In collaboration with Yate, we crafted the songs "Black Camel" and "Sun Day." "Black Camel" is a musical journey that narrates a cosmic rally, bringing excitement and energy to the listener. "Sun Day" is a musical message about a bright future before the onset of wartime events, reminding us of peace and harmony.

Ten songs that ultimately changed the world. Ten songs pulled from precedent-establishing albums recorded between 1963 and 1966. More than five-million copies sold. In every way, Bob Dylan's Greatest Hits is a fundamental collection for every music lover, and the perfect choice for those seeking an introduction into the legend's vast career. For this is a collection so prized, even the cover photo won a Grammy.

Greatest-hits volumes are often hit-and-miss propositions not because of what they contain, but because of what's missing. Filtering the top selections from the six formative, life-altering albums Dylan made between 1963 and 1966 is an arbitrary process but one performed impeccably on this set. Home to his biggest chart successes as well as his most influential songs, Bob Dylan's Greatest Hits is a veritable template for any aspiring singer-songwriter, an American history lesson, and a seminal release for anyone new to his work – as well as for audiences that find some of his deeper cuts an acquired taste. Every signature facet of Dylan is represented, and done so authoritatively. Serious, protest folk anthems ("Blowin' in the Wind," "The Times Are A-Changin'") sit alongside defiant rock statements ("Positively Fourth Street"), landscape-changing epics ("Like a Rolling Stone"), beautiful blues-inspired odes ("I Want You"), and surrealist dreamscapes ("Subterranean Homesick Blues"). Infused with literary poetry, impassioned emotion, and career-making performances, this material doubles as a definitive account of American culture and society, and functions as a soundtrack to the era's social movements.

Gathered in one place, it's no wonder the songs here gave Dylan what remains the biggest-selling album of his career.

What is a dream computer? With the right input we can compute our dreams, this means that you are a dream computer and so are we and if you have the chance to create your dreams, don't hesitate, you might surprise yourself.

Life has changed in the eight years since the release of II. In ours, yours and Gala Drop themselves. Most times without noticing it, partly due to those two years of a semi-existence that still resonates and with the ongoing predatory gentrification process changing the landscape and life of Lisbon, home to the band since ever. Close to a decade and a half of existence, with various mutations along the way enacting new perspectives and moments of stillness and reflection to a sound that's been mutating itself to its own internal rhythm and agency under the guiding light of the core duo of Afonso Simões and Nélson Gomes. Now a trio, with Rui Dâmaso transitioning from II after the departure of Jerry the Cat and Guilherme Canhão, Gala Drop sound even more focused as a working band, with their new album title Amizade – friendship in Portuguese – making perfect sense in a celebration of their, by now, patented soundworld of cosmic inspiration: krautrock's endless and hypnotic potential, dub's sense of transient space, the throb of house, balearic dreams, polyrhythms and a communal sense of belonging.

Again, this sprawling sphere of influence opens itself to new shapes and inspirations, but there's a deeper sense of accuracy and direction, with the band channeling those legacies into something we can only grasp as the Gala Drop sound. An organic outcome of working steadily as a trio, made possible by a residency promoted by gnration in Braga, Amizade dwells on the psychedelic nature of the group through seven tracks made up of dreamy synth washes, loads of percussion, echoes, chilled guitars under a radiant aura. Gala Drop have never sounded as openly dubby as on 'Dub da Meia Noite' and 'Areal Dub' or capable of converging different tropes of the hardcore continuum – rave stabs and cut up vocals – on a slow burner as memorable as 'Monte do Ouro'. Or given free reign to electricity as on the narcotic guitars of 'Guitarra Voadora' – excepting the one off with Ben Chasny on 2012's Broda. 'Amizade' points towards all of that with comforting escapism and wrapping things up 'Raio' turns dubstep's original bass weight meditations into a cosmic funk workout. One last hug before we leave. An album that feels like a collective moment of celebration, just when we most need it.

Afonso Simões - Drums, percussion and synthesizers
Nelson Gomes - Electric guitar and electronics
Rui Dâmaso - Electric bass & guitar and synthesizer

Recorded by Budda Guedes at Estúdio Mobydick, Braga
Mixed by Gala Drop and Hugo Valverde at Estúdio Cão Andaluz, Lisboa
Mastered by Anne Taegert at Dubplates & Mastering, Berlim
Cover photo by Sara Graça
Design by Nicolai Sarbib

Montreal duo Bas Relief present a collection of rough-cut IDM and pitch-corrected emo on Insulary, a five-song EP out June 2023 on Brooklyn imprint Quiet Time. Written and compiled long distance from threads of bass music-inspired alt pop and guitar recorded in isolation, Insulary is the duo’s first substantial release since 2018. Granulated microglitches fill out the digital drum arrangements, calling on influences Baths and Loraine James, overlaid with warm piano progressions, melancholic guitar loops, and collaged vocal production.

These self-reckoning, forlorn vocals form a patchwork narrative, hazed like a shapeshifted memory, long reconfigured with each conjuring, coherence inconsistent but still there. Recurring dreams find home among recursive passages, self-referencing lyrically and with samples churned through plugins, recorded on loop until you fall upon the most satisfying aha! moment and lock it to the grid. At certain moments all the pieces combine to reminisce in sentimental shards of Porter Robinson or The Postal Service, while never straying from Bas Relief’s own vernacular.

Visiting the past in person simply by walking the routes you took in a life long past, that reenactment of memory, that attempt to capture that which you can’t – it might even be a future – is a central bolt of Insulary’s lyrical content. It’s sentimental, it longs for some past which might not even have existed, and it’s hopeful too, never capitulating to traditional structures in its embrace of unusual stylistic combinations. Insulary – brim-packed with fragments of drum and bass, uptempo electronica, and emo – is but a preview of Bas Relief’s exciting near future

Brand new album finally on Vinyl, All songs composed, produced & mixed by IV Horsemen Mastering at Dadub Studio by Gian Artwork & all music video by Timothée Gainet,

INTOXTC is the first EP under Ash Luk's post Minimal Violence alias,Infinity Division. Like a phoenix rising, he continues his ascent through amelodic dystopia simultaneously channeling nostalgia and violence. No stranger to Never Sleep after our //ZOO release and playing live shows for the club night for many years. 'Visions' has ID howling over eerie pop lubed melodies, jungle breaks which all come together to form a new age in crossover music. Sounding like nobody else and completely blows the doors off the"Hyperpop" stigma associated with this kind of bravery. 'Thirteen' shows the club some trance fever dreams whilst 'Something Dreamy' breaks the whole fourth wall in its unashamed hands in the arrangement and palette. Leading the charge is 'T-INT' - a HUGE orchestral noise rhythmic workout and shows the sheer volume that this producer can materialise. Leftfield break up a mosh pit in NYC's CBGB and find Ian Curtis still dancing.

Formed in 2016 by transatlantic buds Nick Mitchell Maiato and James
Toth, One Eleven Heavy is a band designed as a Venn diagram of the
pair's shared musical loves Crazy Horse, Grateful Dead, and Dylan come to the fore when listening to their joyful third album, Poolside, but the influences go much deeper.

Toth says, We were lucky to have our touring drummer, Jake Morris (Stephen Malkmus & The Jicks) at the ready to play drums. Nick's pal, the fantastic Guy Fowler, plays bass on the record.

Guided by mysterious producer Colin Sick, One Eleven Heavy spent
a year writing and recording the tracks that form Poolside, an album that feels like a gothic western romp through cartoon dreams of escaped criminal ciphers ( Tyrant King ), rebound coke binge recollections ( Rizzo In The Wig ), and tales of sasquatches crossing state lines ( Bama Yeti ).

Nachdem er in den späten Sechzigern als Frontmann des beliebten jamaikanischen Gesangstrios The Paragons eine Reihe von erfolgreichen Rocksteady-Singles aufgenommen hatte, wurde John Holt zu einem der beliebtesten jamaikanischen Solokünstler, der eine Reihe von Reggae-Hits für viele der führenden Plattenproduzenten der Insel produzierte.

Der internationale Durchbruch gelang ihm 1974 mit dem äußerst populären Album "1000 Volts of Holt", das raue Reggae-Rhythmen mit raffinierten Orchesterarrangements verband.

Der Höhepunkt des Albums war die Bearbeitung von Kris Kristofferssons Country-Hit "Help Me Make It Through The Night", der im darauf folgenden Jahr zu einem weltweiten Hit wurde und als Single Platz 6 der britischen Charts erreichte.
In den folgenden Jahren blieb Holt ein Gigant der Reggae-Szene mit weiteren Bestsellern und zahlreichen ausverkauften Shows auf der ganzen Welt.

Das Beste aus seinem Solowerk wurde auf dieser "Essential Artist"-Compilation zusammengestellt, der neuesten Veröffentlichung in der neu eingeführten Reihe von Trojan Records, die die Arbeit von Jamaikas beliebtesten Foundation-Künstlern vorstellt. Erhältlich als
28-Track-Doppel-Vinyl-LP und als umfassende 2CD-Compilation, veranschaulicht die Sammlung auf hervorragende Weise das Talent, das John Holt zu einem der beliebtesten und beständigsten Sänger der Reggae-Musik gemacht hat.

JIMMY EDGAR's latest release for Innovative Leisure, LIQUIDS HEAVEN, is a psychedelic canvas of future R&B, euphoric bass, mutant tear-theclub-up rap, foundation-splintering noise, and gossamer soul.
On a surface level, it is a starburst of avant-garde fusion, collecting a diverse cast of eccentric geniuses and re- configured into an anthology of n - musique concrete.

As with all of his work, there is a deeper and subversive intent.
Do not mistakenly believe that LIQUIDS HEAVEN is merely a technicolor dream of ethereal abstractions. It bangs as hard as anything to ever bump from a subwoofer.

Over a polychromatic blast of crunk, bounce on Everybody like a rap
rave inside a 31st century space station. Bite That 2 finds Trinidad James spitting flames over booty- shaking, wall- crumbling bass. On Ya, 645AR chirps over a metallic chassis of booming industrial funk.For all the high energy propulsion, there is a counter-balance of melancholic beauty.

The album's opener, Euphoria features a Liz Y2K vocal that levitates with plaintive longing. The Milk- aided Dreams 1000000 sounds like the chimerical soundtrack to a manga utopia that needs to be imagined. Milk also appears on the finale, Never Leave, which
captures a bittersweet sadness, the wistful emotion of the tide slipping away.


Jimmy's career has been a series of fascinating left- turns. Signed to Warp Records as a teenage electronic music prodigy, his work needs a scholarly bibliography to properly assess. He's recorded for the world's most respected imprints (Warp, K7, Hotflush, Innovative Leisure and his own New Reality Now).

Raised in Detroit, there have been stints soaking up inspiration in Berlin, Atlanta, LA, and New York. His list of close collaborators includes the most innovative musicians of the millennium, including Hudson Mohawke, Danny Brown, SOPHIE, DAWN, Mykki Blanco, Vince Staples, and several full projects with Machinedrum
as J-E-T-S.

You Can Can is an echoed affirmation, an album which traces song forms around silence, field recordings, and degraded analog memories. This is folk music transmogrified and mutated, as if recorded and reconstructed in Pierre Schaffer’s GRM studio.

Not your typical Mariposa folk duo, the group is comprised of Toronto avant-music scene stalwarts, vocalist Felicity Williams (Bernice, Bahamas) and bricolage artist and synthesist Andrew Zukerman (Fleshtone Aura, Badge Epoch). The album feels like a somnambulant conversation, fragmented and half-remembered with Williams’ vocals traveling through a landscape of field recordings and Zukerman’s saturated concrète topographies. It is an electro-acoustic assemblage, both analog and digital, comprised of air, electricity, minerals, wood, and water. Although the album nods towards traditional forms of folk and musique concrète (if at this point it can be called a traditional form), it is outwardly and inwardly contemporary; non-linear, citational, opaque, and sui generis. In a way it feels like a sonic index of the narrative experiments found on the infamous Language school-related publisher The Figures, in the work of Lyn Hejinian, Clark Coolidge, and Lydia Davis. In the musical continuum, the album picks up where Linda Perhacs left off in the early 70’s—explored by Gastr Del Sol in the ‘90s—a convergence of rural acoustic idioms and urban avant-electronics. This is country music for the discerning cosmopolitan citizen of the 21st Century.

RIYL: Luc Ferrari, Brannten Schnüre, William Basinski, Oval, Eric Chenaux, Emmanuelle Parrenin About Everything In Time and Failure Figures, Felicity Williams says:

Everything In Time is indebted to the language of Brazilian author Clarice Lispector (as translated by Alison Entrekin). Drawing on insights from psychoanalysis, we trace the roots of melancholy to render them available to consciousness; words from the ghostly realm of the transpersonal filter through dreams and shine a beam of light onto a lone trillium in a forest at night. Other influences include the experience of not knowing, of being subject to a gestation outside of one’s control. This is an ode to the power of naming to obliterate, to set free.

Failure Figures is a meditation on the radical contingency of reality and the vicissitudes of the will. With Slavoj Zizek as my guide (think: “Hegel for dummies” - I’m the dummy in this scenario), I wander through the valley of the shadow of death, and take heart. The last verse refers to an experience I had recording at a studio in Brussels. I was singing in French, with which I have some fluency, and the producer was complaining to the artist whose song it was that my delivery was not convincing. Thinking I was out of ear shot, he said in French, “c’est comme elle n'est pas là”; I was pronouncing the words correctly, but I failed to express anything. So what or whom is responsible for conveying meaning, if not the form of the word itself? And if the connection between meaning and form is broken, how do we fix it?

Gratitude to Thom Gill (guitar) and Daniel Fortin (bass) who joined us on the recording of Failure Figures. Thanks as well to my old roommate Christopher Willes, who unwittingly left behind his hand bells deep in the hall closet. We unearthed them by accident, and the bells became an important sound element. Thanks to other past roomies Robin Dann and Claire Harvie, whose childhood piano and guitar respectively still reside with us, and were used in the recording. Field recordings were made in Toronto, Canada and Celestún, Mexico in 2020.