Modeselektor should require very little introduction. The Berlin-based duo of Gernot Bronsert and Sebastian Szary have destroyed so many dancefloors around the world that their reputation precedes them and, as producers too, their stature has grown and grown. They've released two critically-acclaimed albums - Hello Mom! and Happy Birthday! - and collaborated with the likes of Thom Yorke and Paul St Hilaire.
Most recently they worked with Apparat on the much talked-about Moderat project: a collision of futuristic beat-styles, moody synth-textures and vocals, which has won them a whole load of new fans and seen them tour the globe with a truly mind-melting, chest-thumping audio-visual live show.
Somehow or other, Modeselektor still find time to be among the best, most reliable party-smashing DJs on the planet. Their contribution to Get Physical's Body Language mix series is a riotous, bass-heavy affair, one which takes in all kinds of interesting developments in cutting edge contemporary dance music.
MDSLKTR draw a natural line from the fizzing aqua-crunk of Rustie's 'Zig-Zag' to the R&B bump of Missy Elliott's Timbaland-produced 'Lick Shots', from the skippy 90s techno of G-Man's 'Quo Vadis' to the tough Berghain minimalism of Norman Nodge.
Dubstep - a big influence on the Moderat project - plays a pivotal role in the mix: moody, synth-led masterpieces by Peverelist and Benga recall classic Detroit techno, while Untold's devastating 'Anaconda' is sheer dancefloor energy. Scuba's 'Klinik' isn't so much dubstep as broken, reductionist house music.
Throughout the mix, Gernot and Sebastian astound with their ability to bring apparently disparate tunes together into perfect synchrony: who else would have thought to marry the edgy 2-step of Horsepower Productions to the austere 4/4 pulse of vintage Robert Hood, and on into the crunching digital dancehall of Major Lazer? Sometimes the links that Modeselektor forge are less bizarre but no less effective: Joker & Rustie's wonky standard 'Play Doe' is a natural companion to Busta Rhymes' 'Gimme Some More' and the low-slung strip-club thump of Mark Pritchard & Om'mas Keith's 'Wind It Up'.
There's still room for surprises though: the mix's closing chapter is heralded by a cheeky blast of what is perhaps the pop song of 2009, Animal Collective's effervescent 'My Girls'. We're left with 'A New Error', probably the most haunting and memorable tune from Moderat's recent album, and a fine finale to this stupendous, genre-hopping mix.
The uncompromising, big-hearted Body Language Vol.8 is the most refreshing and outrageously banging mix you'll hear all year, a stellar addition to a series which has seen previous contributions from the likes of M.A.N.D.Y., DJ T., Matthew Dear and Junior Boys. It's the very opposite of boring. Hell, it might just be the party album of the year…
TRACKLIST CD:

01 Outro
02 Rustie - Zig-Zag
03 Missy Elliott - Lick Shots (Instrumental)
04 Osborne - The Count
05 Boy 8-Bit - Cricket Scores
06 Felix Da Housecat - Kickdrum
07 Alex Cortex - Huyendo Part 2
08 G-Man - Quo Vadis
09 Norman Nodge - NN 8.0
10 Benga - Emotions
11 Peverelist - Clunk Click Every Trip
12 Untold - Anaconda
13 MOVES!!! - All Skate
14 Busta Rhymes - Gimme Some More (Amended Version)
15 Joker & Rustie - Play Doe
16 Mark Pritchard & Om'mas Keith - Wind It Up
17 Djedjotronic - Dirty & Hard (feat. Spoek) vs Dorian Concept - Trilingual Dance Sexperience
18 Horsepower Productions - Let's Dance (Club Mix)
19 Robert Hood - Unix
20 Major Lazer - Pon De Floor
21 Boys Noize - Nerve
22 Siriusmo - Nights Off
23 Modeselektor - The Black Block (Marcel Dettman Redifinition)
24 Scuba - Klinik
25 Animal Collective - My Girls
26 Modeselektor - Fill #1
27 Siriusmo - Die Rockwurst
28 Si Begg vs Juice Aleem - Rock My Hologram (Original Instrumental)
29 Moderat - A New Error


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Germany
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Modeselektor should require very little introduction. The Berlin-based duo of Gernot Bronsert and Sebastian Szary have destroyed so many dancefloors around the world that their reputation precedes them and, as producers too, their stature has grown and grown. They've released two critically-acclaimed albums - Hello Mom! and Happy Birthday! - and collaborated with the likes of Thom Yorke and Paul St Hilaire.
Most recently they worked with Apparat on the much talked-about Moderat project: a collision of futuristic beat-styles, moody synth-textures and vocals, which has won them a whole load of new fans and seen them tour the globe with a truly mind-melting, chest-thumping audio-visual live show.
Somehow or other, Modeselektor still find time to be among the best, most reliable party-smashing DJs on the planet. Their contribution to Get Physical's Body Language mix series is a riotous, bass-heavy affair, one which takes in all kinds of interesting developments in cutting edge contemporary dance music.
MDSLKTR draw a natural line from the fizzing aqua-crunk of Rustie's 'Zig-Zag' to the R&B bump of Missy Elliott's Timbaland-produced 'Lick Shots', from the skippy 90s techno of G-Man's 'Quo Vadis' to the tough Berghain minimalism of Norman Nodge.
Dubstep - a big influence on the Moderat project - plays a pivotal role in the mix: moody, synth-led masterpieces by Peverelist and Benga recall classic Detroit techno, while Untold's devastating 'Anaconda' is sheer dancefloor energy. Scuba's 'Klinik' isn't so much dubstep as broken, reductionist house music.
Throughout the mix, Gernot and Sebastian astound with their ability to bring apparently disparate tunes together into perfect synchrony: who else would have thought to marry the edgy 2-step of Horsepower Productions to the austere 4/4 pulse of vintage Robert Hood, and on into the crunching digital dancehall of Major Lazer? Sometimes the links that Modeselektor forge are less bizarre but no less effective: Joker & Rustie's wonky standard 'Play Doe' is a natural companion to Busta Rhymes' 'Gimme Some More' and the low-slung strip-club thump of Mark Pritchard & Om'mas Keith's 'Wind It Up'.
There's still room for surprises though: the mix's closing chapter is heralded by a cheeky blast of what is perhaps the pop song of 2009, Animal Collective's effervescent 'My Girls'. We're left with 'A New Error', probably the most haunting and memorable tune from Moderat's recent album, and a fine finale to this stupendous, genre-hopping mix.
The uncompromising, big-hearted Body Language Vol.8 is the most refreshing and outrageously banging mix you'll hear all year, a stellar addition to a series which has seen previous contributions from the likes of M.A.N.D.Y., DJ T., Matthew Dear and Junior Boys. It's the very opposite of boring. Hell, it might just be the party album of the year…
TRACKLIST :
A1 Siriusmo - Nights Off
A2 Animal Collective - My Girls
B1 Missy Elliott - Lick Shots (Instrumental)
B2 Mark Pritchard & Om'mas Keith - Wind It Up
B3 Major Lazer - Pon De Floor feat VYBZ Kartel
C1 Moderat - A New Error
C2 Peverelist - Clunk Click Every Trip
D1 Felix Da Housecat - Kickdrum
D2 Modeselektor - The Black Block (Marcel Dettman Redifinition)



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TRACKLISTS:
Side 1 (A)
1. DMT
2. Thinking
3. Approaching

Side 2 (B)
1. Without A Cause
2. Timefold

SHORT INFO
Marcel Dettmann's 'My Own Shadow' is the latest chapter in the Berlin-based legend's illustrious career. The live project is, in his own words, "a space where all of my artistic expressions meet," blending techno with film, sketches and photography. The shows are less club sets and more immersive experiences, where the audience gets lost in a "full sensory narrative." "My solo work has always been open, evolving across records and remixes," Dettmann added.

My Own Shadow's first official release, Approaching, is a five-track EP landing on !K7 Records in November. Complemented by his own photography on the artwork, the music spans techno and ambient, fizzing with a madcap funk and energy quite unlike any of his previous productions.

VITAL SALES POINTS
Renowned Berghain resident and contemporary techno stalwart Marcel Dettmann introduces his brand new project and alias My Own Shadow - after his latest releases on Running Back and Dekmantel. EU, UK and US tour dates during the campaign.






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LP, COL (Curacao Transparent Vinyl), 180G


Tracklist:

A1) Hungun 03:39 min
A2) Ulbar 04:01 min
A3) Ergelt 02:48 min
A4) Unadag Dugui 02:19 min
A5) Gerhol 04:03 min
A6) Eejiinhee Hairaar 03:30 min
B1) Zuirmegleh 03:25 min
B2) Much 03:02 min
B3) Neke 02:00 min
B4) Old Folks 08:39 min
B5) Bayar Tai 02:28 min

Info:
For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of colour, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor.
Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes. Backed by a band of renowned jazz musicians (Elias Stemeseder on piano, Robert Landfermann on bass, Julian Sartorius on drums and co-composer Paul Brändle on guitar), Enji isn't just revisiting tradition, she's distilling the feeling of home, of small joys that reveal their significance only when viewed from afar.
Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape us.




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LP Vinyl

Tracklist:

A1) Zavkhan 03:28 min
A2) Diary of June 9th 02:30 min
A3) Gandii Mod 03:45 min
A4) I'm Glad There Is You 03:46 min
A5) Khorom 05:03 min
B1) Sevkhet Bor 04:40 min
B2) Ursgal 05:56 min
B3) Aya 03:13 min
B4) An Untitled Hil 04:54 min

Info:

On her second album Ursgal Mongolian singer Enji creates a unique blend of Jazz and Folk with the thousand-year-old traditions of Mongolian music. Currently based in Munich, her lyrics tell personal stories about unbearable distances, the oddness of being on earth and the simple truths in life.
She's accompanied by Paul Brändle on guitar and Munguntovch Tsolmonbayar on double bass.
Born in Ulaanbaatar, Enji grew up in a yurt to a working-class family. Having always been drawn to music, dance and literature, she initially wanted to become a music teacher with little ambitions to compose or be on stage. A program by the local Goethe Institute sparked her passion for Jazz and eventually led her to become a performing artist. Inspired by the music of Carmen McRae, Ella Fitzgerald and Nancy Wilson, Enji started writing songs of her own, cherishing this newfound means of expression. Ursgal is the first record featuring her original compositions.


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Format Notes: 2024 first time vinyl release, 140g double vinyl, remastered audio with restored artwork


Track List:

A1 Mr. Righteous (Intro) 0:35
A2 You Need Knowledge 3:45
A3 88 Soul 3:12
A4 Black Shakespeare 3:02

B1 For My People...It's Spiritual 2:55
B2 Lonely At The Top 3:56
B3 Just Listen 4:05
B4 California Dreamin' 4:33

C1 Purity 3:59
C2 Kunta Kente 4:20
C3 1993 Shit 3:49

D1 We Got Plots 3:38
D2 Do Win-Dis 4:11
D3 Hope She Remembers Me 3:15

Release Notes:

Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time. Cut across double vinyl, it’s exceedingly limited, with just 500 pressed for the world.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this. It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.


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CD

Tracklist:

01) Zuud 04:33 min
02) Taivshral 03:07 min
03) Duulnaa 03:02 min
04) Temeen Deerees Naran Oirhon 03:42 min
05) Vogl 04:20 min
06) Ulaan 03:30 min
07) Libelle 02:38 min
08) Picture / Three Shadows 05:21 min
09) Encanto 01:33 min
10) Uzegdel 04:25 min


Info:

After the success of 2021’s Ursgal, Mongolian jazz singer Enji returns with her third album Ulaan. The line-up has grown in size with drummer Mariá Portugal and clarinettist Joana Queiroz from Brazil joining the band to create an invigorating blend of grounded Folk and brooding Jazz.


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CD

Tracklist:

A1) Zavkhan 03:28 min
A2) Diary of June 9th 02:30 min
A3) Gandii Mod 03:45 min
A4) I’m Glad There Is You 03:46 min
A5) Khorom 05:03 min
B1) Sevkhet Bor 04:40 min
B2) Ursgal 05:56 min
B3) Aya 03:13 min
B4) An Untitled Hil 04:54 min

Info:

On her second album Ursgal Mongolian singer Enji creates a unique blend of Jazz and Folk with the thousand-year-old traditions of Mongolian music. Currently based in Munich, her lyrics tell personal stories about unbearable distances, the oddness of being on earth and the simple truths in life.
She’s accompanied by Paul Brändle on guitar and Munguntovch Tsolmonbayar on double bass.
Born in Ulaanbaatar, Enji grew up in a yurt to a working-class family. Having always been drawn to music, dance and literature, she initially wanted to become a music teacher with little ambitions to compose or be on stage. A program by the local Goethe Institute sparked her passion for Jazz and eventually led her to become a performing artist. Inspired by the music of Carmen McRae, Ella Fitzgerald and Nancy Wilson, Enji started writing songs of her own, cherishing this newfound means of expression. Ursgal is the first record featuring her original compositions.



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2025 REPRESS.
2 x LP 180gm Heavyweight Vinyl.
Gatefold Sleeve.
Black Poly-lined Inner.
A1 Angel Echoes 4:00 A2 Love Cry 9:13 B1 Circling 5:15 B2 Pablo's Heart 0:11 B3 Sing 6:48 C1 The Unfolds 7:47 C2 Reversing 2:40 D1 Plastic People 6:33 D2 She Just Likes To Fight 4:34


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Special remarks : 2x12"
Genre: Electronic
Tracklisting:
A: Helix 7:23
B: Incus 10:47
C: Lobule 11:03
D: Cochlea 8:28

Short Info:

Press release by Thomas Bey William Bailey
The Ricardo Villalobos / Samuel Rohrer partnership has yielded increasingly interesting results over the past few
years, with the former’s remixes of the latter’s trio Ambiq being supplemented by further reinterpretations of
Rohrer’s solo work and live meetings at select events like Berlin’s Funkhaus and Radialsystem V. As should be the
case with any strong collaboration, this partnership has been based on mutual challenge rather than compromise,
seeing each participant shuttle key technical and emotive aspects of the other’s work to previously unexpected
places.
Those who have been closely following this relationship will notice a definite sense of continuity between
previous outings and the new collaborative release entitled MICROGESTURES. As with those earlier Villalobos
/ Rohrer pairings, these four new pieces are defined by a special quality of being many things that once: that is to
say, depending on the listener’s own level of focus, these can feel very tightly constructed and disciplined, or
playful and freely wandering. That the tracks are equally engaging regardless of one’s chosen listening “mode” is
a testament to the level of thought put into them; you could almost imagining the creators poring over some
elaborate sketched set of architectural blueprints rather than coolly monitoring the usual multi-track editing
software.
Altogether the music here is firmly a-melodic and percussive, but within these deliberate limitations there is still a
greater variety of individual sounds than most would bother with. Each track is its own observatory of microgestures clustering together into a dense communicative fog or a sort of robotic sound swarm. Yet while all
these tracks are variations on that theme, each one has its own character and, consequently, its own rewards in
terms of the exact sectors of the imagination that it activates.
Take for example “Cochlea” and its twin “Helix,” on which the magnetizing, busy layers of percussion are
tempered with mischievously disruptive blossomings of digital noise, as well as sampled radio communications
(which again bring us back to the idea of listeners’ attentiveness changing the meaning of this music - these
curious transmissions can either be taken as a purely aesthetic element or as something to be actively decoded).
Club-oriented elements are also not absent from this suite, particularly on “Incus” with its traditional sequenced
baseline, crisp synthetic trap and hats, and dizzily sliding set of bell-like tones laid on top.?
Yet this track, too, is powered as much by its restless desire to deviate as by its rhythmic consistency: throughout
the eleven-minute running time, a mass of ambiguous and restless machine sounds build a parallel narrative, and
will maybe
prompt the occasional glance over the shoulder as they seem to be taking on their own life. “Lobule” rounds out
the program with the most rhythmically eventful sound set off the five.
What this all adds up to is a confident music which builds that quality from its faith in possibilities rather than
firm conclusions: it’s an inspiring addition to both the musical landscape and reality in general

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