When I first heard the name Paul Kalkbrenner, there was no particular “wow-effect” that struck me. Rather on the contrary in fact. I’ve always found it strange to heard artists, especially in the electronic world, stick to their original name. It didn’t feel right. I found it rather unappealing. I remember that evening where I sent a friend a song, Four To The Floor (Thin White Duke Remix) and he was feeling it. In return, he sent me Sky And Sand. I listened to it, and sure, I didn’t mind it at all, but I had to listen again. Magnetic drifts, I suppose. I kept listening and listening, until it hit me. This, my friends, was an enlightening moment of pure art in my career as a music-admirer, to be honest. And oh boy, was I wrong. What I was hearing here was the soon-to-become summer song of the year. Not even a week later, everyone was listening to it. It spread like a disease, but one of the positive diseases. Like love, one could say. A lovely disease, yes. I knew, and still do, for certain, that the German artist acquired the genuine skill to make quick, heart-rushing music (Gia 2000, among others); slow, thoughtful, minimalist sounds (Since 77, and more); and finally, the almost tragic, yet flawless creations (Page Three, etc.).

PAUL KALKBRENNER – SINCE 77 (192 kbps)

I couldn’t get enough of the old cat hailing from Berlin, Germany. I wanted to hear and possess every piece of music he had ever made, remixed, or remastered. Every time I hear a song I know is special, I need to listen to it again, and again, and again, until I’ve had enough. But this, yes, this was different. A strange experience, never getting bored of a track. Of course, it’s no Wagner opera that lasts four-and-a-half hours, or a Prokofiev masterpiece reigning from historical Russian grounds; it’s only an electronic track! But nonetheless, when reading between the lines of this song, I found something incredible. I found art – I met the spirit of the music of the future. Ein Gesamtkunstwerk an sich. It was beautiful.

[wpaudio url=”https://dl.dropbox.com/u/11754590/13%20Gia%202000.mp3″ text=”PAUL KALKBRENNER – GIA 2000″ dl=”0″]

Following this, I saw the movie, Berlin Calling, which blew my mind. It was tragic. Ickarus, (Kalkbrenner’s pseudonym) was a lost hero, locked up somewhere in the realms of a psychiatric hospital. But within these walls of what some may call prison, he managed to make music. I remember the scene when Sky And Sand drops, and Ickarus is overlooking the sunset. It was the most refreshing and satisfying moment of glory. I’ll admit, I was holding back a tear. Now surely, most of you have Sky And Sand, so I won’t share it at this moment. But it’s always most interesting to trace back the musical roots of an artist. Gia 2000, Since 77, and Page Three are just three Kalkbrenner tracks I have always appreciated greatly. They evoke memories and paint a picture of a world that may never exist again, which, to be fair, is the art of nature. And before I sign off, let’s turn to page three of the book of the almighty prince, and listen, listen, listen.

[wpaudio url=”https://dl.dropbox.com/u/11754590/11%20Page%20Three.mp3″ text=”PAUL KALKBRENNER – PAGE THREE” dl=”0″]

So inspiring, so delightful. Let’s have a tea, man. Fine, sure. ?