I admire the electronic arranging skills in Jean-Michel Jarre's early albums: Oxygène (1976) and Chants Magnétiques (1981). In the latter, Jarre took what were basically stock, attractive Baroque chord sequences, and dressed and integrated these with rich synthetic timbres: bubbling, dancing, soaring, clicking and mechanical turning. From his early work I learned sensitivity to and delight in texture. Jarre first opened the doors to timbre for me.