ReComposed by Carl Craig & Moritz von Oswald

This record is the perfect soundtrack for the long dark winter nights. To call it a remix of Ravel: Boléro, Rapsodie espagnole / Mussorgsky: Pictures at an Exhibition, though factually correct, would be doing it a massive disservice.

Not since the Factory Classical label has anyone succeeded in turning fans of contemporary music on to classical music, however this release might do just that...

The parallels between classical and techno were there from the beginning (no pun intended) of course, when Derrick May used samples of the Detroit Symphony Orchestra on "It Is What It Is". More recently the emphasis has been on classical interpretations of electronic music - for example Warp's London Sinfonietta collaboration (a little on the worthy-but-dull side) and Jeff Mills "Blue Potential" (entertaining, but unlikely to appeal to anyone outside the techno fan-base). "Recomposed" then, is an attempt to look through the looking glass the other way, as it were, i.e. make a techno version of classical music (make no mistake this IS a techno record) using two of the genre's foremost producers and rubber-stamped by the heavyweight classical label Deutsche Grammophon.

Here's a review from viewpoint of a techno fan (and one who doesn't really know the original works):

The amazing opening piece, "Intro", is Kraftwerk's "Franz Schubert" with a touch of "Low"-era Brian Eno thrown in for good measure, a winter soundscape. "Movement 1" and then "Movement 2", follow on directly (all the tracks on the LP are run together as one continuous piece of music) which are both based on Ravel's Bolero. You'll recognise the time signature (easily) but fortunately no sign of Torvill and Dean. The overall effect is like a classical "E2E4" with Christmassy-sounding horns.

Things take even more of a techno turn with "Movement 3", and we're back on Kraftwerk territory - this time late period - "Tour de France Soundtracks" rhythm merging in to something sounding a bit like (Moritz's/Basic Channel's) own "Inversion". "Movement 4" is the least orchestral-sounding track: straight up techno-house - but whereas on his previous releases MvO would use hisses and crackles by way of background noise (attention to background noise being a Basic Channel trademark, in common with fellow studio-engineer band The Blue Nile), here he appears to be using sampled snippets of the orchestra instead.

Next, the "Interlude"...sounds like "Kometenmelodie" (Kraftwerk again) meets BC's "Radiance iii" plus orchestral backing - another very strong piece (and not unlike the first track).

On "Movement 5", the production is credited solely to Carl Craig. This is the most classical sounding piece here and shows C2's talent for absorbing virtually any style of music into a techno framework - more Kraftwerkian tones, once again harking back to "Franz Schubert" from their Trans Europe Express LP.

The LP ends with the most experimental piece of all (James Murphy once said something along the lines that all the best albums end with a track that sounds nothing like the rest). This time it's von Oswald's turn to go it alone with the more menacing "Movement 6".

This immaculate production is also immaculately well-presented, in a thick card gatefold sleeve, like a miniature version of an LP, with informative, if not very well translated, blurb (C-). Perhaps most astonishing of all, you get something on this LP that is not present on any other Basic Channel-related release - a photograph, in fact several photographs, of the legend that is Moritz von Oswald!

The end result? It sounds as if Kraftwerk had been asked to soundtrack "The Snowman" (as surreal as that may seem)...here comes the techno Santa Claus. My second favourite album of the year.

PS Classical music fans (not sure if "fans" is what you call yourselves?) please post your reviews or comments here.

PPS "April" by Sun Kil Moon, in case you were wondering (which of course you weren't).

I was very intrigued when I heard about this album, so I had to pre-order myself a copy. The content is very unusual, but great for testing out those expensive Hi-Fi separates systems.

The intro is very slow and mellow and sets the tone for the build up that is to follow, which blends into Movement 1 and a loop of the distinctive beginning of Ravel's Bolero. With great promise, we're then onto Movement 2. Sadly the composition loses its way for me as I then had to endure 10 minutes of an extremely annoying 'trumpet/horns' loop, which continues into part of Movement 3 and unfortunately ruins things slightly - this is why it only gets 4 instead of 5 stars. I wouldn't be surprised if many turned it off at this point, but please stick with it as things do pick up eventually. The horns eventually fade out and we're onto a kind of chill out/techno/electronica sound, which goes nicely into Movement 4. If you have a good set of speakers, this is where you will start to appreciate them! Then comes the Interlude, which gives an excellent build up to Movement 5, which in my opinion is the best part of this composition and the most "Classical" sounding part in my opinion. Movement 6 provides a mellow ending with the haunting sound of churchbells in the background and various synth sounds.

Overall I would say this isn't really for people who enjoy and appreciate classical music. Its more for people who appreciate the techno side. This isn't "Techno" in the sense of what William Orbit did a few years back with classical pieces, but a more a mellowed "Lounge" type sound. If you appreciate hints of classical with synth music, similar to the likes of Jean Michel-Jarre or Vangelis, then this could be for you.

I'll not beat around the bush here, but just recommend that you buy this album. If you're already a fan of the Basic Channel/ Chain Reaction sound, then it's a must, if you're a classical-head, give it a go, but remember, as some of these other reviews point out, it is essentially a techno long-player.

Yes, it might take a listen or two to truly appreciate, but this is a work of immense depth and you won't tire of it. My only regret is buying it on vinyl. It really demands being listened to in one sitting, without the breaks imposed by four sides of vinyl.

And hey - you even get a couple of photographs of the elusive Maurizio!