[2] He is most known for his single "Sky and Sand", which sold over 200,000 copies, went platinum, and was highly charted in countries such as Belgium and Germany.

He played together with his good friend Sascha Funke, who he met at his school and discovered that they both shared a common interest in techno.

[3] Greatly admiring the Underground Resistance from Detroit, both Kalkbrenner and Funke spent the years between 1992 and 1997 delving into record bins and familiarizing themselves with the best techno releases of the day.

[6] After spending many long and sleepless nights on the dancefloors of E-Werk, Planet, and Walfisch, the dream was born to make music himself.

In 1995, at the age of eighteen, Kalkbrenner worked for two years as a cutter in the television industry to fund the equipment he bought for production.

[4] She came over to hear what they were working on, gave a few recommendations, and in 1999, Kalkbrenner released his first tracks as the Friedrichshain EP on BPitch Control under the name "Paul dB+."

His melodic sound, with its affinity for grand emotional gestures, obeyed the logic of the dancefloor, but his third album, Self (2004), introduced a narrative aesthetic.

[7] The movie premiered at the Locarno International Film Festival in Switzerland and was well received, turning in a cult classic in Europe.

It broke the record of longest run film in Germany, with over 145 weeks of continuous screenings at Kino Central in Berlin.

In 2009, after receiving widespread acclaim for Berlin Calling – The Soundtrack (2008) album released on BPitch, Kalkbrenner decided that after ten years, it was time for him and the label to split ways.

Icke Wieder (3 June 2011) which was heavily supported by DJs like Sasha, ranked number two in German music charts,[11] and ultimately reached gold status with over 100,000 CDs sold.

Those tracks were made available for free on social media and topped over 1,5 Mio downloads, gaining him some renowned press echo.

Rolling Stone wrote „Viral, techno history lesson",[21] Billboard magazin described BACK TO THE FUTURE as "work of historical excavation".

These events will see Kalkbrenner return to DJing, which, though he has only played live since 1998, was how he performed as a teenager in Berlin youth clubs and in the early part of his career.

Its cover art is a painting from his uncle, Paul Eisel, depicting a collection of "unique personal objects".