moderat tour 2022 berlin

• Einlass & Sicherheit

MORE D4TA TOUR

During their extended six-year hiatus between  Moderat III  and  MORE D4TA , Berlin's most iconic trio also momentarily suspended their nightly activities at venues and festivals. The Moderat machine was fully revived in 2022 with the release of their latest album, and the flurry of shows that followed proved that the band was indeed back. In streams and in flesh.

So after filling up Berlin's Parkbühne Wuhlheide last September for the first part of the MORE D4TA Tour, Moderat got used to the crowds again and no longer want a quiet return home - once more opting for good company. This time the band will perform in one of Berlin's most spectacular buildings, the  Velodrom  on December 1, 2023.

From the summer open airs to the indoor venues, two live iterations in Berlin of MORE D4TA, a project that recently underwent a complete reinterpretation with the release of  EVEN MORE D4TA  on March 17. This remix album of Moderat's latest LP is a bold expansion of their universe, featuring 11 remixers across the spectrum of electronic music. 

Support: James Holden

Veranstaltungsort

Velodrom Berlin

Paul-Heyse-Straße 26 am S-Bhf. Landsberger Allee

10407   Berlin

Veranstalter

Loft Concerts GmbH

http://www.loft.de

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Wir bitten um rechtzeitige Anreise. Der Einlass beginnt in der Regel 90 Minuten vor dem Veranstaltungsbeginn.

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31 Oct 2022

Berlin-based electronic music group make their debut at the Palace. Since coming together as a trio in 2002, Moderat has successfully synthesized the legendary bass sounds of Modeselektor with the trickier subtleties of Apparat’s optimistic pop, resulting in dark, post-minimalist techno with delicate lyrics and soaring melodies. In their review of the group’s third album III , Pitchfork remarked that Moderat is “a band you can relate to, not just a beat you can bob to” whilst Resident Advisor noted that “unrestrained emotion is ultimately III ‘s defining attribute.”

Age restriction 16+

Support will come from yeule and Sylvere.

Please note that for live music events at Alexandra Palace visitors are only permitted to bring in one small bag with them, which must not be bigger than A4 in size. Read our bag policy here

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Moderat live in Berlin 2022 – Was Fans wissen müssen

Moderat kommen am 3. September 2022 für ein Open-Air-Konzert nach Berlin. Alle wichtigen Fragen und Antworten zur Show.

Moderat sind zurück: Im Herbst geht das Berliner Trio auf Tour und wird am 3. September 2022 für ein Konzert nach Berlin kommen. Mit im Gepäck haben Moderat Songs aus ihrem aktuellen Studioalbum "More D4ta", das im Mai 2022 erschien, sowie eine Auswahl ihrer bekanntesten Hits wie "A New Error", "Bad Kingdom" und "Rusty Nails".

Moderat ist eine Berliner Musikgruppe, die 2002 aus dem Zusammenschluss des Musikers Apparat (Sascha Ring) und dem DJ-Duo Modeselektor (Gernot Bronsert und Sebastian Szary) entstanden ist. 2009 brachten sie ihr Debütalbum mit dem Titel Moderat heraus. Das zweite Album II erschien Anfang August 2013 in Deutschland und Großbritannien.

Wo werden Moderat in Berlin auftreten?

Das Open-Air-Konzert von Moderat findet in der Parkbühne Wuhlheide (An der Wuhlheide 187, 12459 Berlin) statt. Das auch "kleine Waldbühne" genannte Theaterrund fasst unbestuhlt 17.000 Besucher.

Gibt es noch Tickets für das Konzert?

Nein, das Berlin-Konzert von Moderat in der Waldbühne ist ausverkauft. Auf der Internetseite der Veranstalter können keine Karten mehr im Vorverkauf erworben werden.

Wann geht es los?

Der Einlass startet am Sonnabend (3. September 2022) um 17.00 Uhr. Das Konzert beginnt gegen 19.00 Uhr.

Welche Songs werden Moderat in Berlin spielen?

Natürlich kann die Setlist bei ihrem Konzert in der Wuhlheide davon abweichen, aber diese Songs spielten Moderat bei ihrem Auftritt im Juni 2022 in Rom:

• Rusty Nails
• Eating Hooks (Siriusmo Remix)
• Animal Trails
• Bad Kingdom
• Ghostmother
• A New Error
• Les Grandes Marches

Wie wird das Wetter?

>>>Hier finden Sie das aktuelle Wetter für Berlin<<<

Gibt es ein Hygienekonzept in der Parkbühne Wuhlheide?

Alle Veranstaltungen finden unter Einhaltung der aktuellen gesetzlichen Vorschriften statt: Die jeweiligen Veranstalterinnen und Veranstalter tragen Sorge, dass die Hygienemaßnahmen stets überwacht und eingehalten werden.

Hier finden Sie die aktuellen Informationen zum Hygienekonzept der Parkbühne .

Generell gilt: Wenn Sie sich krank fühlen oder sogar Symptome haben, die auf eine Covid-19 Erkrankung hindeuten, bleiben Sie bitte zuhause!

Wie komme ich zur Parkbühne Wuhlheide?

Die Veranstalter raten zur Nutzung des öffentlichen Nahverkehrs, da im direkten Umfeld der Parkbühne Wuhlheide nur wenige PKW-Parkplätze zur Verfügung stehen. Diese befinden sich entlang und beidseits der Straße „An der Wuhlheide“. Mit der S-Bahn kann die Bühne über den Bahnhof Wuhlheide (S3) erreicht werden. Von dort aus sind etwa 900 Meter – beziehungsweise rund 8 Minuten zu Fuß – durch den Park zum Einlass der Open-Air-Bühne. Per Tram kann die Parkbühne mit den Linien 27, 60, 61 und 67 erreicht werden (Haltestelle „Freizeit- und Erholungszentrum“). Von dort aus ist der Weg ausgeschildert.

Was darf mit in die Parkbühne Wuhlheide?

Die Mitnahme von alkoholfreien Getränken ist bis maximal 0,5 Liter pro Person im Tetra-Pak oder PET erlaubt. Nicht erlaubt ist die Mitnahme von Glas, Dosen, sperrigen Gegenständen aller Art, Taschen und Rucksäcken größer DIN A4, Waffen beziehungsweise pyrotechnischen Artikeln, Video-, Foto und Tonaufzeichnungsgeräten, sowie Tablets, Laptops und Tieren.

Hier finden Sie weitere Informationen zu den Einlassbestimmungen der Parkbühne Wuhlheide .

Moderat live in Berlin, Sonnabend, 3. September 2022; Einlass ab 17.00 Uhr, Konzertbeginn 19:00 Uhr, Parkbühne Wuhlheide, An der Wuhlheide 187, 12459 Berlin

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MORE D4TA (Special Guests: Sylvera & Lyra Pramuk)

Manchmal handelt es sich bei Musik um Zahlenfolgen. Als Modeselektor (Gernot Bronsert & Sebastian Szary) und Apparat (Sascha Ring) beschlossen, eins zu werden, entstand eine Trio-Band namens Moderat, die in ihre klangvolle Welt geholt wird. Der guten Dinge sind immer drei und das Ergebnis dieser fulminanten Ergänzung ist eindeutig: Kaum jemand hat elektronische Musik aus Berlin mit mehr Leidenschaft und Begeisterung in die entlegensten Winkel der Welt gebracht als diese Schwergewichte.

2002 trafen sich Sascha, Gernot und Sebastian zum ersten Mal. Apparat und Modeselektor waren zu dieser Zeit beide fest in der Berliner Musikszene etabliert. Sascha hatte bereits sein Debütalbum veröffentlicht und Gernot und Sebastian eine Reihe von 12inches.

Einer Zusammenarbeit war keiner abgeneigt, die Frage aber war: Wann würden sie sich zusammentun? Die Mauern in Berliner Musikstudios haben privilegierte Ohren: Fast 15 Jahre lang haben sie die Geburt mehrerer zeitloser Juwelen miterlebt.

Den Grundstein legten Moderat 2003 mit ihrer allerersten Veröffentlichung, der „Auf Kosten der Gesundheit“-EP. Die drei Freunde erreichten genau zu diesem Zeitpunkt die Höhepunkte ihrer jeweiligen Solo- bzw.Zweier-Karrieren und die Veröffentlichung des Moderat-Debütalbums im April 2009 leistete denen keinen Abbruch.

Vielleicht liegt das Geheimnis der Zusammenarbeit von Modeselektor und Apparat darin, dass sie nie versucht haben, sich einander anzunähern. Der donnernde Bass von Modeselektor grollt im Keller, Apparats feinfühlige und subtile Melodien schweben hoch in der Traufe. Die Tatsache, dass das, was man für inkompatibel hält, dann aber tatsächlich funktioniert, macht Moderat so einzigartig.

Wenn eine Band derart erfolgreich ist, erwartet man normalerweise nach einem ersten Album ein zweites. Mathematik basiert auf Logik und Moderat nicht für Überraschungen gemacht. Also folgte im August 2013 bei Monkeytown Records das zweite Album mit dem schlichten Namen „II“.

Seitdem vergingen ein paar Jahre, in denen Moderat ihrer Linie treu blieben und die Kilometer zählten, die sie zwischen ihren Live-Auftritten von einem Ende der Welt zum anderen reisten. Moderat sind eine Familie, in der die Familienmitglieder es geschafft haben, gemeinsam etwas zu kreieren, was ihnen einzeln nicht gelingt. Modeselektor hält den Rahmen und bringt die Farben, Apparat malt die Geschichten.

2016 am 1. April beschlossen Moderat, ihr drittes und bisher letztes Album III zu veröffentlichen. Ein 9-Track-Album mit Bonustracks und einer Instrumentalversion, die das Ende der Trilogie markiert. Und dann? Ein 4 Jahre altes Versprechen. „Wir werden noch eine Weile brauchen, aber wir kommen wieder! Bleibt dran!“

Präsentiert von radioeins & tip Berlin

Wichtige Hinweise

Bitte beachtet die ausgewiesenen Zeiten. Um einen reibungslosen Einlass gewährleisten zu können, bitten wir um frühes Erscheinen.

Die Mitnahme von (alkoholfreien!) Getränken ist bis max. 0,5l Gefäßgröße pro Person im Tetra-Pak oder PET erlaubt. Nicht erlaubt ist die Mitnahme von Glas, Dosen, sperrigen Gegenständen aller Art, Taschen und Rucksäcken größer DIN A4, Waffen bzw. pyrotechnischen Artikeln, Video-, Foto und Tonaufzeichnungsgeräten, sowie Tablets, Laptops und Tieren! Es gilt generell der gesunde Menschenverstand sowie cooler & angenehmer Umgang untereinander/miteinander.

Veranstalter: Loft Concerts

Moderat in Berlin at Parkbühne Wuhlheide , 03-09-2022

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Moderat announce concert at Velodrom in Berlin on December 1st

During their extended six-year hiatus between   Moderat III  and  MORE D4TA , Berlin’s most iconic trio also momentarily suspended their nightly activities at venues and festivals. The Moderat machine was fully revived in 2022 with the release of their latest album, and the flurry of shows that followed proved that the band was indeed back. In streams and in flesh. So after filling up Berlin’s Parkbühne Wuhlheide last September for the first part of the MORE D4TA Tour , Moderat got used to the crowds again and no longer want a quiet return home – once more opting for good company. This time the band will perform in one of Berlin’s most spectacular buildings, the  Velodrom  on December 1, 2023.

From the summer open airs to the indoor venues, two live iterations in Berlin of MORE D4TA, a project that recently underwent a complete reinterpretation with the release of  EVEN MORE D4TA  on March 17. This remix album of Moderat’s latest LP is a bold expansion of their universe, featuring 11 remixers across the spectrum of electronic music.

01.12.2023 Moderat at Velodrom Paul-Heyse-Straße 26, 10407 Berlin

Anreise, Sicherheit, weitere Hinweise zur Wuhlheide

Wenn Bands eine „Schaffenspause“ ankündigen, dann ist das häufig ein eleganter Weg, um zu sagen: Wir hören auf. Diese Befürchtung hatten wohl auch viele Fans nach dem bislang letzten Moderat-Konzert am 2. September 2017. Vor 17.000 Menschen kündigte das Trio in der Berliner Wuhlheide eine Auszeit an. Und die war mehr als verdient – schließlich hatte die Band in ihrer bis dato 15-jährigen Karriere mehr erreicht, als sie sich je erträumt hätte: Eine gefeierte Album-Trilogie, weltweite Chartplatzierungen und ausgedehnte Touren rund um den Globus (darunter Mainstage-Slots auf den wichtigsten Festivals wie Coachella, Roskilde, Rock Werchter, Glastonbury, Primavera, Sónar). Was sollte jetzt noch kommen? Für Moderat stand immer fest: Auf eine Art werden sich ihre künstlerischen Wege wieder kreuzen.

Und das taten sie: Sechs Jahre nach dem Vorgänger III (2016) melden sich Moderat mit ihrem vierten Album zurück. MORE D4TA klingt durch und durch nach Moderat, als wären sie nie weg gewesen. Die zwei Jahre andauernde Funkstille zwischen Apparat (Sascha Ring) und Modeselektor (Gernot Bronsert und Sebastian Szary), während der sich jeder seinen eigenen Projekten widmete, war im Rückblick betrachtet das dringend benötigte Durchatmen, um mit neuer Energie zum gemeinsamen kreativen Sprung anzusetzen.

Auch wenn MORE D4TA aus der Kollaboration zwischen den drei Musikern entstanden ist, musste sich die Band zunächst wieder annähern und musikalisch neu definieren. Ideen wurden ausgetauscht und wieder verworfen. Es wurde exzessiv experimentiert – mit modularen Synthesizer, Field Recordings und anderen klanglichen Kuriositäten. Doch egal wie weit die Band sich in abseitige Gefilde vorwagt, am Ende des Tages kehren sie immer wieder in ihre eigene Soundwelt zurück. Einem Ort, an dem emotionsgeladener Pop und pulsierende Soundscapes zusammentreffen. Das Ergebnis ist nicht unbedingt Dance Music. Doch die sphärischen Melodien, gepaart mit Rings überirdischem, fragilem Gesang, funkeln in der Dunkelheit der Nacht am allerhellsten.

Obwohl der Albumtitel ein Anagramm von „Moderat 4“ ist, steckt dahinter weit mehr als bloße Wortspielerei. In einer Zeit, in der wir pausenlos mit Content bombardiert werden und kulturelle Debatten auf Plattformen geführt werden, die mehr Interesse an unseren Daten haben, als an der Kunst, kann man sich schnell überfordert und desillusioniert fühlen. MORE D4TA erkennt diese Realität an, ohne sich ihr kampflos zu beugen. Wer es schafft, sich selbst mal kurz zu unpluggen und auf das Album einzulassen, findet hier das Werk einer Band, deren Musik aus einem tiefen, kreativen Schaffensbedürfnis herauskommt. Die in knapp zwei Jahrzehnten eine Soundästhetik erfunden hat, die unverkennbar ihre eigene ist. Und die mit aufgeladenen Akkus und ohne Kompromisse in den Startlöchern steht für die nächste Phase ihres gemeinsamen Wegs. Moderat haben den Reset-Button gedrückt und MORE D4TA belegt eindrucksvoll, dass sich mehr Musiker*innen öfter mal eine wohlverdiente Pause gönnen sollten.

Präsentiert von radioeins , tip Berlin & EINEN HAB ICH NOCH

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Friday 01 December 2023

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Paul-Heyse-Str. 26 10407 Berlin, Germany www.velodrom.de/

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Moderat: “We surf through Bandcamp and take inspiration but don’t translate it like-for-like”

Sebastian Szary reveals the production secrets of Moderat’s fourth album, MORE D4TA and tells us how the group stays inspired.

Moderat. Image: Birgit Kaulfuss

“I think it’s still the cinematic sound”, says Sebastian Szary, musing over the thread that connects Moderat’s work. “You know, after four albums, it’s still the soundtrack for a movie that hasn’t been written yet.”

It’s something that can be heard across the band’s music, in the way the energy ebbs and flows, the way emotional synths combine with grand, percussive gestures. It’s hard to pinpoint the sound exactly but it involves electronic soundscapes, haunting vocals and textured beats.

• READ MORE: Show Off Your Studio: Gundelach’s Shapeshifter came to life in his Oslo studio

Szary is one-third of German electronic music supergroup Moderat, alongside Gernot Bronsert, who he works with as Modeselektor, and Sascha Ring, otherwise known as Apparat.

He sits in a studio used by renowned techno producer Marcel Dettmann in Berlin, which is next to the office for Modeselektor’s own label, Monkeytown Records. It’s a quiet space away from the mass of kit in their own studio next door, which is currently being setup ready for rehearsals. “Over in our main studio, the stage setup for Moderat is set up with all the tables, a mixer, samplers, synthesizers, and modular. It’s kind of complicated.”

Complicated but unsurprising, given that all three members are electronic music veterans known for their production prowess and experimental use of electronics. With new album MORE D4TA out May 13, they are about to embark on an epic global tour for the remainder of the year. MORE D4TA  comes off the back of a prolific year of heavyweight Modeselektor releases, including their 2021 albums Extended and EXTLP , plus a string of EPs. And prior to that, Apparat released four Soundtrack  albums in 2020 that weaves atmospheric moods with intricate percussion.

The trio first started working together back in 2003 with the release of the Auf Kosten der Gesundheit  EP. This was followed by three successful albums in 2009, 2013 and 2016, and extensive touring that saw the trio performing at some of the world’s biggest festivals. However, after performing their final hometown concert in Berlin in 2017, the group announced a hiatus that many thought signalled the end of Moderat. Two years later, though, the seed was being sown for creating more music.

“We met in summer 2019,” says Szary, “Sasha and Gernot and me, and we started talking about should we go back in the studio with Moderat. At this time, each of us had been on tour with our own projects, with Modeselektor and with Apparat.”

At that point, they had no idea that the pandemic would bring an end to their upcoming shows and disrupt the entire industry. They could, however, get back in the studio. In March 2020, Moderat finished the first draft of Fast Land , the track that would become the opener of MORE D4TA .

“Then after this, it was a little bit of silence,” says Szary. We finished our [Modeselektor] album Extended  and Sasha became a daddy. Then in the summer, we started to come back to the Moderat table.”

Despite all three members being involved with the composition and production of the tracks, Sascha Ring takes the lead when it comes to vocals and lyrics. His delicate voice can be heard on most tracks on the new album, sometimes with clear messages, other times intricately processed, pitched and manipulated to become part of the music itself.

A lot of Ring’s inspiration came from frequent trips to Berlin’s Gemäldegalerie museum, often with his infant daughter. It’s here that he sought solace from the outside world and spent time with the great paintings of the past – the track More Love  was partly inspired by Botticelli’s The Birth of Venus .

Szary was also looking to art for inspiration and, like the rest of the world, doing some soul-searching during lockdown. “Sometimes you discover new things and you see them from another angle. I got into the Romantic period with German Romantic painting. In 2020 when you hang around and nothing’s happened, it’s only you and you find yourself. It was like a trip, and then I found the layer I can work on and bring to Moderat.”

All these elements come together on the new album, which seamlessly blends experimental modular work, field recordings and intricate processing and signal degradation with emotive pop melodies and compelling chord progressions.

Szary lists the band Low as another influence, particularly the albums Double Negative and Hey What . “They are located more in the indie/guitar-cosm. The composition and also the engineering is grandiose, it’s fantastic. That was really inspiring”.

Monkeytown Records is known for championing acts that value experimental music and production, so it’s no surprise that the band spent time hunting down unique music from all corners of the internet for MORE D4TA . “We also took influences from contemporary music from all the platforms. Especially when you’re surfing through Bandcamp and you find a lot of talented musicians. You take inspiration but you don’t translate them one to one.”

The trio use Bandcamp to brilliant effect. Last year, they released unreleased Modeselektor material from the Extended  project exclusively on the platform.

With all these ideas and inspiration from different sources spread across three members, the band had to find a way to bring it all together. Luckily, after three albums of material, they have developed a distinct workflow that allows them to refine their ideas.

“The process was to put ideas and sketches from the past in a folder and then to ask, ‘Is it relevant for the new album or not?’” says Szary. “That was point zero, and then we came into creating something new from scratch.”

The new tracks and ideas were then created on different platforms at different times and all added into the shared folder. When the band listened back, if they felt inspired and that a song fit with the vision for the album, they’d develop it into a full piece.

From the beginning of 2021, Moderat held weekly sessions to work on the material, with splinter sessions for developing specific elements.

There are examples of experimental sound design and modular sound on the album, plus detailed, subtle glitch effects. “My part was to concentrate on the things in between. That space you have when you listen to sound where you can experiment. Like when a file is interrupting and you’re looking for some errors or some bad bounces. I tried to convert sample rate and bit rates so you have artefacts.”

At its core, MORE D4TA  is an album that wrestles with feelings of isolation and the idea of information overload. “The title came quite late. And we thought, ‘Okay, we are really stressed out by too much input, too much data input’. So you can have input when you go out on the streets but when you switch on all your platforms or your messaging, it’s sometimes too much data. Then we translate the name, Moderat 4 into More Data. It’s an anagram.”

Given the success of the previous tour for the album III , it was inevitable that MORE D4TA  would make the transition from studio to stage. It’s mostly Gernot’s role to work out how best to make this happen but Szary points out that you have to have different points of view at the composing stage.

“We have to think about how it sounds as a solo track and how to make the album playlist run like a soundtrack,” he says. “And then at the same time, how can we make it work on stage and how can we connect it with other tracks we already have from three previous albums?”

A lot of the tracks on the album are dynamic, with constant movement and modulation in the synthlines and textures. Szary says that Moderat use the album tracks as fingerprints to translate a perfect copy to the stage, before working out if there’s space to take it in different directions. Macros allow control of multiple parameters at once.

“I work on the MPC live. So I have the possibility to have macros on these little dials. Sasha also has macros on his digital setup, but we keep it as simple as possible. So when we add new equipment, we have to remember that every human being only has two hands.”

To keep the performances interesting, the band leaves space for improvisation. Some sections can be held for longer on stage, for example, but the structure and key musical moments remain essential. “I think the secret of the show is that you have fixed moments you can trust.”

With more than 50 shows lined up for 2022, Moderat has a busy year ahead. After a break from touring during the pandemic, the opportunity to play a few Modeselektor shows last year helped with preparations.

“It was nice to see the LED wall from the backside on some stages and to smell parts of a concert – and to be backstage and to have your damaged ears the next day. It was like being on stage for the first time. So I think we are prepared. And we have a really good team.”

This involves PFA Studio, formerly Pfadfinderei, developing some visual delights that will help to elevate the music and make the shows more of a spectacle.

It seems the hiatus has been beneficial to Moderat, as their fourth album is perhaps their most creative, intricate and hopeful-sounding release to date.

MORE D4TA is out now . Catch Moderat on tour from May to December.

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Moderat: "After 20 years of electronic music, the clean synth sound isn’t the most euphoric or rewarding sound to us"

Six years on from Moderat III, Berlin’s finest elektronische supergruppe emerge with sublime new album, MORE D4TA

It’s a busy press day in Modeselektor’s new studio in Berlin, which doubles as the nerve-centre and rehearsal space for Moderat, the hugely successful and equally influential band that exists when Modeselektor’s Gernot Bronsert and Sebastian Szary join forces, musical ideas and hard-drives with Apparat aka Sascha Ring. 

MORE D4TA, is a tour de force of everything we’ve come to love from Moderat. Gritty synths, fractious beats and Ring’s haunting vocals bring the dancefloor into the song and the song out onto the dancefloor on what’s possibly their best musical offering to date. 

We caught up with Sascha in between rehearsals for the forthcoming Moderat tour to find out how sometimes, stripping back software and equipment can make a world of difference to the finished sound. As the adage goes, less is sometimes MORE D4TA. 

Was the decision for the three of you to reconvene as Moderat an organic thing? 

“Yeah, it was obvious from the beginning that there would be another Moderat album… it was never a goodbye. We just didn’t know when it would be happening. Basically, because we have to plan our lives a bit in advance, we knew it would be happening and we’d started talking about making a new album in, maybe, 2018. It’s always like that, when we take a break, we barely see each other… [laughs] so we really take the term ‘break’ seriously. 

“Also, we were touring with our separate projects, both doing different festivals, so we didn’t really bump into each other backstage for a while. Then we slowly started talking again, met for a coffee here at Modeselektor’s studio just to listen to some music before deciding to start work on a new album in August 2019. Then the pandemic threw us all out of our routine and flow, but it did give us a lot of time to concentrate on what we were doing.” 

So, you were all individually making lots of musical ideas during the lockdowns?

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“Luckily it was the early stages of the record anyway, so, whenever we start there’s always a lot of work going on in separate studios. Especially at my end as when I’m writing songs, I have to be alone. It’s like that part of making a record is nothing you can really share. In the past we had a studio with two rooms, so I’d just be in the other room and maybe occasionally show up with a song idea. So, we work like that anyway. 

“I was in my studio producing ideas, Gernot was out of town most of the time, so he was working in his little holiday home and Szary was here in Modeselektor’s studio. So, even though it sounds a bit cynical, the pandemic fitted our schedule very well! By the time the crazy lockdown was over and we were allowed to be in a room together again we all had a lot of song ideas on our hard drives and then the real production period started.” 

Were the lockdowns a somewhat mixed blessing for electronic musicians?

“Honestly, a lot of people in my ‘scene’ surprised me with how much they enjoyed the break… at least in the beginning. Because everyone had been in that hamster-wheel; being afraid of missing a show here or a release there or whatever. Always that fear of being forgotten by the people if you don’t play all the time. So, suddenly all that wasn’t important anymore. It’s a bit like, I love video games but I can’t really play them as I have a bad feeling about wasting time… except when I’m sick. 

“I guess the pandemic maybe gave people the idea that they could finally stay home without that bad feeling that they’re wasting their time. Obviously, that was just phase one of the pandemic because then, at some point, everyone thought ‘okay, I’ve been at home enough now!’. Our production period was over within a year but the pandemic wasn’t, so then you couldn’t really look forward as nobody knew when we’d get out to play live again.”

Has clubland returned to normal in Germany now? 

“It’s been a little back and forth. At the moment most things are open and back to pretty much normal… [laughs] though what do I know as I have a little kid now!” 

MORE D4TA feels like it has a slightly grittier edge than the previous album, would that be fair to say? 

“Maybe not so much with the first album as that was really just a case of searching for what Moderat could be but then we discovered that we did like resampling sounds to make them sound a little more used so MORE D4TA is probably the logical consequence of that path we started taking with the second record. We do it all the time. 

After 20 years of electronic music, the clean synth sound isn’t the most euphoric or rewarding sound to us

“Sometimes there would be a song idea that’s arranged and sounds quite good the way it is but then we’ll think that somehow it lacks feeling or grit, which is usually a moment where we’d give those files to Szary and he’ll disappear into another room or Marcel Dettman’s studio, which is in this building too. So, Szary will take them away and just fuck them up a bit and make them sound ‘older’ as, after 20 years of electronic music, the clean synth sound isn’t the most euphoric or rewarding sound to us.” 

What kind of hardware and software do you use for that part of the process?

“I have two of these T-Rex Replicator Modules (Tape Echo replicators). As a tape-delay I’m not quite sure if they’re super good as I’ve never been able to get them close to a clean sound. You don’t need to touch the tape or anything as they’re already super-wobbly and broken by nature.  

“Since I have two, as I want to use them for stereo signals, unfortunately or maybe fortunately, they all sound broken in a different way so there’s no way of getting a clean stereo signal… it’s always going to be crazy left/right but, I guess that’s what makes them interesting. Szary likes to use plugins for most of it but I still like to use the Replicators or maybe through external saturation stuff like the Elektron Analog Heat.” 

Do you each have a set role within Moderat or is it freer than that? 

“More and more we kind of find our roles. It’s still three people that can more or less do the same things but, of course, it doesn’t help if everybody wants to do the same thing in the studio. So, more and more we’ve found our niche in the production process. Right now, I do start a lot of songs but very quickly, even before they have a real ‘sound’ I give them to Gernot and he starts arranging them, which I would never do as I would always work with a loop till the loop sounds awesome. 

“So, Gernot is often the arranger and he’s always taking care of the drums, which means most of the time he’s the operator in the studio also because we’ve now switched to Ableton Live and I don’t really know how to use it that well. Szary tends to come into the game when we need some weird sounds and we don’t really bother syncing up the computers or anything, sometimes we just give him a stereo signal bounce and he just fucks with the whole master buss then we use pieces of it. Often the editing is very brutal and that’s usually what Szary does… he does a lot of sound-design and sound mangling.” 

Does your modular rig get a run-out on the new album?  

“Yeah, although it’s actually getting smaller and smaller. I had this rule where I only allowed myself three cases, which I then realized was still too much. You know, there’s this picture of Martin Gore’s Eurorack room, which is crazy! [laughs] I’d go into that room and be intimidated until the end of my life. I mean, how do you start making a sound in there? I only have one of the Make Noise cases now and I really like the CV Bus distribution system in them. It’s not so much sound generation with the modular now, although I do use a bit of the Mutable Instruments stuff for that. It’s more packed with effects and the Cwejman filters are just awesome! 

“I can’t live without the Cwejman MMF-6 because it has this strange Symmetry feature that I don’t fully know what it does other than mangles the sound and breaks it apart in strange ways. I really need a second one for doing stereo signals but they’re hard to get. Sometimes I’ll run arpeggios from the computer and tweak them in the modular or maybe send some MIDI, but I would never sequence in the modular setup as it’s a bit too complicated.”

You must be a rarity in the modular world that you’re actually paring down your rig?

“Yeah, but it’s the same with other gear too, really. I’ve had bigger studios in my life, but I always found that they didn’t make me more creative. They confused me a lot of the time as there were too many options. My current studio just now is just a workstation with some really good preamps because stuff needs to get in and out of the computer with good conversion. Then there’s a small table where I’ll put a synth or an effects unit that I’m planning to use. 

In lots of departments, I’m sticking to the old gear…[laughs] maybe I’m not so flexible now I’m 44!

“I make the decision before I start jamming… I have an Erica Synths Syntrx, which sometimes I’ll make a decision that it will be all I use for that day then I put it away and try something different the next day. Back in the day I used to have to buy a new bit of gear to get inspired – this is the cheaper version of that where I don’t have to buy it, I just have to find it in my studio and put it on the table. I get a little anxious when I have too much gear around me.”

Any nice new bits and pieces in Modeselektor’s studio that you had a chance to mess around with? 

“They have a lot of good gear around the place and it’s all connected and ready to use but by the time we were working here together everything was very digital because it needed to be easy to exchange files. I would be more likely to start the main computer, start Ableton and try to find my way through the software that I’m not so comfortable with.” 

The last time we spoke, you were all on Logic, when did the switch to Ableton take place? 

“You know what, when I first met Modeselektor, a long time ago, I was running Steinberg Nuendo! Then, when we made the first Moderat album, I switched to Logic to be compatible with them. [laughs] Now, can you believe it, they wanted me to switch a second time… but I refused. I’m stuck with Logic now although I do know how to handle Ableton now too. So, I was making my ideas in Logic and sometimes I’d just bounce it into Ableton. 

“When it’s audio it’s a little bit more destructive editing, which can be quite healthy because then you’re not so tied to the idea.  Back in the day I would make a much more ‘open’ version on Logic then everybody could open all the synths and plugins but they would maybe be a bit more reluctant to change anything on it as you could see the arrangement and maybe that some thought had been put into it, whereas if you just give somebody audio then you don’t see all that information and they can just go for it.” 

Does being in Berlin mean that the three of you are spoiled for choice for getting access to software and hardware companies? 

“Yeah, but honestly, I must admit that I’ve been using an old computer and this computer in the studio is still the one we bought for Moderat II. So, it’s a ten-year-old iMac with a lot of old software on it too and we didn’t feel the urge to use too many new things. Occasionally we tried new things that were supposed to be really good. These days there are so many specialised plugins doing a specific thing but, in the end, if you use an equaliser and a compressor you reach the same goal. Also, you maybe have more control, and you understand better what’s going on. 

“In lots of departments, I’m sticking to the old gear… [laughs] maybe I’m not so flexible now I’m 44! For effects it’s sometimes nice if there’s someone building multi-effects in a weird way.  Two newer things I do like are Output’s Portal and Thermal. They’ve got familiar delays and distortions but there are a lot of interesting combinations all with a user interface that’s really simple with the X/Y idea that invites you to move around and experiment. These days I think it’s getting harder to make things that sounds revolutionary, so I think it’s a better idea for software developers to look into new user-interface ideas that inspire you in new ways. 

I mean, you don’t need a Moog One to get a fat-sounding synth. Maybe if you like the feel of playing instruments but is it worth six or seven thousand Euros?

“Another plugin I like is Oeksound’s Soothe2, which is a sort of dynamic EQ that allows you to tighten resonances in voices, for example. It’s another bit of software that’s meant to make your life much easier although, if I’m honest, if you have a good sounding room, record something well and know how to handle an EQ then you can do the same thing, which will probably be better in the end because you’re not messing with the signal so much. If you’re working factory-style and you have to work quickly then these sorts of plugins are very handy but, if you have time on your hands and you have a good monitoring situation, I much prefer using hardware and spending some time doing it.” 

So, you don’t subscribe to the school of thought that newer gear leads to more ideas? 

“Maybe by saying that this record was made with nothing particularly new or special then the message might be that these days good software and good tools for making music are so widely available it should never keep someone away from making music because they think they don’t have the right tools. In German there’s a saying ‘Alle kochen mit dem gleichen Wasser’, which means ‘everybody cooks with the same water.‘ I mean, you don’t need a Moog One to get a fat-sounding synth. Maybe if you like the feel of playing instruments or you like the look and touch of it but is it worth six or seven thousand Euros?” 

FM often likes to guess what instruments or effects we’re hearing on tracks but Moderat songs are often too mangled to really guess their original source!

“Sometimes things have originated from a very simple synth but then there’s often a lot of layering, stretching and pitching within Ableton, which makes it sound gritty as well… and that’s all just from the DAW. Software nowadays offer so many opportunities that it can be a bit confusing if you expand your plugin pallette too much!” 

When FM visited the old studio in Berlin, all three of you were using your Teenage Engineering OP-1s, are they still in the Moderat armoury? 

“Funnily enough, I just got an ad from a music store and I was shocked that the OP-1 is 1200 Euros now… when I bought mine it was 700! Of course, they’re inspiring little machines. I haven’t used mine for a little while but it’s definitely something I’d put in my suitcase when I go on a long vacation again… just to play around with it and take the ideas back to the studio then. That’s been sitting in my ‘gear to be used’ cupboard for a while… [laughs] so there will be a day when I put it on the table again.” 

Are we all sound curators now as much as musicians? 

“Yeah but isn’t that the same for every producer? Maybe a little bit less so for a very traditional producer but it is so much about finding the right sound for the right spot. I try to divide these things into a writing process, which isn’t quite so important anymore. I try not to focus on the sound so much as it really slows me down but that’s difficult as it’s been such a crucial part of my songwriting process… the sound often is the song idea. 

I’m not such a fan of Ableton for workflow reasons, but live is where it definitely shines

“This time I tried to take that apart a bit and write with quite a neutral sound, concentrate a little more on the melody, the vocals on top and then the next stage is the sound design. It’s difficult to do and I’m not even sure if it gets me better results it’s just that I’ve been using the other way of doing it for so many years and I’m always wanting to challenge myself with a little bit different workflow. So, for now, the writing is quite traditional and then my role as, how you call it, a sound curator comes a little later when there’s not so much writing to do anymore.” 

Are the three of you all flexible when you have sounds chosen for a song idea and the other two maybe want to change it? 

“That’s really difficult sometimes and that’s why it doesn’t really work if you do it in a half-assed way! If you’ve spent a bit of time on a sound idea and maybe it‘s not the most original sound but it does become very hard to change it. Even if you find a more interesting sound it might not fit the song any more in your mind. That’s why it’s often better to use a very neutral sound that’s obviously a placeholder.  Sometimes I’ll deliver almost final sounding song ideas but then we try and force ourselves to throw it all away, keep the melody and use a different synth for it. It can be very refreshing but for the one who wrote the original idea it’s usually very painful.” 

Are you looking forward to taking MORE D4TA out on the road? 

[laughs] “As you can see there’s no space in the studio at the moment as the live workspaces are all setup. We’re rehearsing at the moment and stuff slowly comes together. The beginning of preparing for the live shows is usually a pain because we’re trying to find out ways to play each song. With a band, you know that the guitar is going to be played onstage by a guitar-player but in our case, every song is different so there’s this period of figuring out how to play each song. Once that’s done and dusted we have a plan and then usually the fun starts.” 

In the space of a tour tracks evolve and change? 

“Yes, that’s also happening now as we know what we’ll play and how we’ll play it so whenever we play a song as a band, we notice if it needs another part or if bits need to be longer or shorter so the songs are already changing. In the first month of a tour they’ll evolve more as we’re always making adjustments or if something needs to be more extreme . It’s not an arrangement we play live, everything is scene-based so sometimes we’ll look at each other and decide it’s time for the next part. That comes when you’re more comfortable with the material, first you need to figure out the best possible way of playing something… and then you can go on and stray from the path a bit. ”

Is Ableton underpinning the live show?

“Yeah. Gernot finally feels comfortable to play without a screen so he does play Ableton but he’s just using a Push and he’s mastered the colour-concept to do things without looking at a screen, which is a huge accomplishment because every screen onstage is a distraction. Szary has no computer at all, he gets signals fed to him from us, which he mangles. He gets the MIDI-clocks so he has a few synthesisers and drum-machines. I do have a computer but it’s not onstage with me. 

“I’m using Mainstage patches that effect everything I’m doing… sometimes it’s the synth I’m playing or the voice or the modular going through it. So, Ableton is the backbone but it really is just running in the background. We’re trying not to look at it and using a lot for things that are in sync with it to play our parts live on top of it. In the studio I’m not such a fan of Ableton because of workflow reasons but live is where it definitely shines.” 

MORE D4TA is out now on Monkeytown Records.

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Moderat is back! The Berlin trio is back with a new album and tour. Band will play on December 11, 2022 at COS Torwar in Warsaw!

For bands, a “hiatus” is usually just a polite way of announcing a break-up, but sometimes, a hiatus is just that—a hiatus. Back in 2017, when Moderat announced that they’d be taking an extended break following a final concert in their hometown of Berlin, many assumed that the group was basically calling it quits. After all, they’d already completed a celebrated trilogy of albums, repeatedly broken into the pop charts and performed all around the globe — what else was left for the German trio to accomplish? Moderat, however, always knew that they’d find their way back to one another…

In 2002, Sascha, Gernot and Sebastian met for the first time. At that time, Apparat and Modeselektor were well established in the Berlin music scene. Sascha had already released his debut album and Gernot and Sebastian a series of 12’’s. Collaborating together wasn’t even debatable, the question was: When will they join forces? Moderat laid their foundation in 2003 with the EP Auf Kosten der Gesundheit and then needed six years to put together the album Moderat. Perhaps the secret of this collaboration lies in the fact that they never even tried to get close to one another. Modeselektor’s thundering bass rumbles in the cellar, Apparat’s sensitive and subtle melodies float high in the eaves. The fact that what one assumes to be incompatible actually communicates, is what makes Moderat so unique. Thus, when a band is successful, usually after a first album you would expect a second. Mathematics is all based on logic and it was not the time for surprises for Moderat. This one came out in August 2013 on Monkeytown Records and is soberly called II. Time passes and the group remained on the same path. Concerts follow album releases, new singles precede new albums and the fans have become accustomed to this frenetic pace of events and closely follow what Sascha, Szary and Gernot offer from their subdivided work. Moderat are three family members that managed to create together what they don't do individually. Modeselektor is holding the frame and brings the colors, Apparat is painting the story that the group wants to tell. In 2016, the release of their album III follows. In 2017, Moderat announced that they’d be taking an extended break following a final concert in their hometown of Berlin in front of 17.000 people. And in 2022 they return with a new album and a new live show. MORE D4TA, the group’s fourth album, arrives more than six years after its predecessor, yet its contents are quintessentially Moderat. Created largely during a time when touring (and most traveling) was off the table, MORE D4TA is an album that wrestles with feelings of isolation and information overload — issues that have become particularly pronounced recently. The album is rooted in collaboration, but long before any of its tracks were laid down, Moderat spent months hanging out and getting musically reacquainted, indulging in extended bouts of experimentation and slowly fleshing out ideas as they dove into modular composition, field recordings and other sonic oddities. They’re not a conceptual outfit, and never have been: After spending the better part of two decades making music together, they’ve carved out a sound and aesthetic that are all their own, and MORE D4TA showcases a group that’s creatively recharged and fully dedicated to its craft.

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Moderat Concert Setlists & Tour Dates

Moderat at velodrom, berlin, germany.

• Ghostmother
• A New Error
• Eating Hooks
• Rusty Nails
• Animal Trails
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Moderat at Hanzas Perons, Riga, Latvia

Moderat at compensa concert hall, vilnius, lithuania, moderat at l'aéronef, lille, france, moderat at rockhal club, esch-sur-alzette, luxembourg, moderat at poppodium 013, tilburg, netherlands, moderat at visarno arena firenze, florence, italy, moderat at spring attitude 2023.

• Les grandes marches

Moderat at Mayfield Depot, Manchester, England

• Bad Kingdom

Moderat at Decibel Open Air 2023 II

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Most played songs

• A New Error ( 159 )
• Bad Kingdom ( 153 )
• No. 22 ( 142 )
• Eating Hooks ( 139 )
• Rusty Nails ( 127 )

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Apparat Digital 21 Fred again.. Jon Hopkins DJ Koze Loudspeakers Modeselektor Pogo Lennart A. Salomon Thom Yorke & Nigel Godrich

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Jon Hopkins A Made Up Sound

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1,461 people have seen Moderat live.

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