Isao Tomita – Arabesque No. 1 (1974)

Snowflakes Are Dancing is an electronic music album by Isao Tomita, recorded in 1974 and first released as a Quadradisc in April. The album consists entirely of Tomita’s arrangements of Claude Debussy’s “tone paintings”, performed by Tomita on a Moog synthesizer. It entered the top 50 charts in the United States, where it was nominated for four Grammy Awards in 1975, including best classical album of the year, and it was NARM’s best-selling classical album of the year.




[via Thomas Knak]

Paul Kalkbrenner – Aaron (2008)

Paul Kalkbrenner (1977) is a producer, DJ and actor from Berlin, Germany. He is signed to the famous Bpitch Control label founded by Ellen Allien. Starting as a trumpet player and studying music theory, Kalkbrenner later switched to electronic music. In 1999 he released his first tracks under the name of Paul dB+. As a live act, he performs using Ableton Live in combination with midi controllers and hardware synthesizers. In 2008 he composed the soundtrack for the German movie Berlin Calling in which he also is the leading actor. The theme song Sky and Sand, featuring his brother Fritz Kalkbrenner ended up in various European charts.



Joachim Garraud & Alesia – Hook (Black Asteroid Remix) (2012)

The exclusive Beatport release of the first single, ‘Hook,’ fromJoachim Garraud & Alesia‘s new collaborative EP, Hillside West, due out on Dim Mak next month. Teaming up with the fresh new French trio, Alesia, has proven to be a great influence on this new single from Joachim. Utilizing his mastery of Electro and Techno, Joachim also developed new Progressive and Dubstep influences into Hillside West, and the anthemic synths married with grungy, almost Skrillex-esque womps deliver a side of Joachim’s production that has never been heard before. With support already in from AxwellBingo PlayersAngger Dimas and more, I’m sure that we’ll be hearing this a fair amount during festival season. Pick up ‘Hook’ on Beatport today. [Source]

Model 500 – Control (2012)

It’s a rare thing for electronic music producers to make impressive returns – think of recent re-appearances by Orbital or Future Sound of London – but this is different. Like Luke Slater’s decision to relaunch Planetary Assault Systems, Juan Atkins’s comeback as Model 500 serves as a reminder that when it comes to making music from another dimension, the Detroit native has few peers. The key difference between Atkins’s return and Slater’s latest vision for PAS is that Control doesn’t sound that different to classic Model 500 material. Granted, the production sounds punchier and clearer, but this has perhaps more to do with the production tools than the song craft. Yet at the same time, Atkins is ploughing a furrow that he first explored almost 30 years ago, and it still sounds relevant and vital. Maybe contemporary music’s lack of a distinctive edge means that the approach that Atkins developed long ago still resonates, but irrespective of the explanation, “Control” connects on a number of levels, be it thanks to the wobbly bassline, deadpan robo vocal or combination of dreamy synths with niggling bleeps and blips. The same sense of adventure, that feeling that music could transport the listener to another place, still applies. “The Messenger” is a typical Detroit techno groove, its shuffling, jerky rhythm playing host to a small universe worth of effects, tones and riffs, accentuated by sharper modern-day production techniques. It goes to show that Atkins’s magic touch is a powerful as ever. [Source]




[via Morten Vammen]