Yes, Tomita is pretty strange. His rendition of Bolero is perhaps the most stereotypical Tomita you can find [1].

I tend to prefer electronic music that is relatively melodic but at the same time uses electronic instruments to do effects you can't easily do with analog instruments, e.g. like these, which are synth "classics":

* Jarre: Oxygene II: https://www.youtube.com/watch?v=hD4KMp22jBg

* Jarre: Arpegiator: https://www.youtube.com/watch?v=LzAui_gcdhM

At the same time as they play with the synth capabilities of the time, they show Jarre's classical background - more so if you see the scores, and just how structured they are (especially if you look at a whole album; especially his earlier albums were thematically consistent, with very structured progressions from piece to piece).

For music that spans the genres, this is one of my all time favourites: [2] Final Rendez Vous (Ron's Piece), also by Jarre, which mixes electronic music with sax.

It was meant to be played for Jarre's Houston concert by Ron McNair while in space. He was due up on Challenger. The concert was almost called off, but people from NASA convinced Jarre to go ahead with it, and it's taken on an extra dimension beyond the already haunting melody...

On the complete opposite end of the spectrum, on the other hand, I also have a soft spot for chiptunes - 8 bit game and demo music, which ranges from trying to emulate classical music, but which are often very inaccessible if you don't know the technical constraints, to going all out with doing weird stuff with the available hardware.

So to give you a taste of something quite different from most modern electronic music:

E.g. this is one of the great triumphs in simulating real instruments on a Commodore 64 [3] (Monty on the Run, by Rob Hubbard). I won't be surprised if you're not impressed, but look at the oscilloscope and consider that it's three voices made on an 8-bit home computer.

Or this "album length" set of tracks from Last Ninja [4]... Both of these are constrained by hardware to 3 voices, no proper samples (sine, triangle, square waves and noise, with some added pulse modulation and lots of dirty tricks).

It does take some effort to look past the tinny sound and limited "instrument", and is probably a greatly acquired taste given that I grew up with it.

But to take two more: Lightforce (C64), by Rob Hubbard [5]. One of the pieces that probably sold more copies of the game than the gameplay did (the game itself was shit), yet which exhibits a lot of similar geometric progressions that the first two Jarre pieces do.

Which brings me to one of the most interesting game music compositions of the era:

Delta (also Rob Hubbard) [6]. It's not really casual listening, but it is extremely fascinating to meditate on. You can really see the limitations in that oscilloscope view: Those are what the other pieces have to work with, stripped bare. In most of the other pieces the composer has worked hard to try to bend it into a richer sound (and sometimes succeeded surprisingly well, like in the case of Monty on the Run - compare the oscilloscope for the middle voice in particular), but in Delta the simplicity is the main feature.

[1] https://www.youtube.com/watch?v=Xnt_8bUXVpw

[2] https://www.youtube.com/watch?v=AublfrOW578

[3] https://www.youtube.com/watch?v=YIA_0cvS2gQ

[4] https://www.youtube.com/watch?v=_miL3Kd6E6w

[5] https://www.youtube.com/watch?v=AFnjA0VraDQ

[6] https://www.youtube.com/watch?v=Zh8SIAZfDKs