Electronica 95

Fortunately, this summer brought back many hits. So the upcoming fall edition of Hitzone will sound wonderfully sunny with singles by Rolf Sanchez, J. Balvin and Jawsh 685 & Jason DeRulo. In addition to these summer hits, Hitzone 95 is packed with hits from big names such as, Lady Gaga & Ariana Grande, The Weekend, Dua Lipa, Ava Max and Katy Perry.

This B-side from the 1985 "Opportunities" single was re-released in 1995 as part of PSB's Alternative set and features the updated remixing of Tracy & Sharon and Angel Moraes.

Two years in the making, Close To The Noise Floor is a 4CD, 60-track set exploring the origins of electronica in the UK. Featuring tracks from key figures on the cassette label underground alongside early releases by future stars of the movement, this is part primitive rave, part synthesiser porn and part history lesson.

Fabio Orsi is an electronic musician from Taranto (Southern Italy) specialising in atmospheric drone. He is a young and talented composer recently revealed in a series of publications received by an enthusiastic chorus of critical approval. In his compositions the languages of popular tradition meet the avantgarde approach, creating an original and charm mix…

Ulrich Schnauss presents ‘Now is a Timeless Present’, a career-spanning retrospective encompassing key works from the past two decades. The German electronic composer will be selecting fundamental music from his back catalogue.

What might have been simply seen as an agreeable enough debut album has since become something of a notorious legend because Kraftwerk, or more accurately the core Hütter/Schneider duo at the heart of the band, simply refuses to acknowledge its existence any more. What's clearly missing from Kraftwerk is the predominance of clipped keyboard melodies that later versions of the band would make their own. Instead, Kraftwerk is an exploratory art rock album with psych roots first and foremost, with Conny Plank's brilliant co-production and engineering skills as important as the band performances. Still, Hütter and Schneider play organ and "electric percussion" – Hütter's work on the former can especially be appreciated with the extended opening drone moan of the all-over-the-place "Stratovarius" combined with Schneider's eerie violin work. But it's a different kind of combination and exploration, with the key pop sugar (and vocal work) of later years absent in favor of sudden jump cuts of musique concrète noise and circular jamming as prone to sprawl as it is to tight focus.