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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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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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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Territories: World excl. UK

FORMAT 12" vinyl, generic sleeve, dl card

TRACKLIST
1. / A1 System Awakens 04:43
2. / A2 Live Wire (Zirp Zirp) 05:38
3. / B1 Echoes Of 04:48
4. / B2 Together In A Rural Place 04:49
5. / B3 Moment To Memory 04:44

6. / DX1 Recircuit (Digital Bonus) 04:43
7. / DX2 Reclaim (Digital Bonus) 05:10

Irish techno producer, Kerrie, returns to Tresor Records on the 24th of October 2025 with her second EP for the label. Entitled Echoes Of The Live Wire, this collection captures the beauty and essence of live performance; a moment in time never to be repeated.
This fixing of time is also given a different meaning as the EP explores the ways in which intense moments in our lives, both joyful and painful, are crystallised into memory, both beautiful and haunting, lingering long after they've passed.
Layered meanings are employed throughout as Kerrie explores this idea: Live Wire draws connections between circuit boards and the human nervous system, whilst also toying with multiple meanings of the word “live”.
Echoes Of channels classic Detroit techno influences, resonating with the distant hum of memories that refuse to fade, while Moment To Memory is a beatless, floating piece which slowly builds to an ecstatic crescendo.
Digital bonus tracks Recircuit and Reclaim add further depth to the core metaphor: the former a driving, minimal yet building techno work-out, and the latter a cathartic and emotionally open track that delivers intensity with vulnerability.
Echoes Of The Live Wire reflects on memory as a complex, dual-sided force where joy and pain coexist with equal weight. Her creative process becomes a form of meditation and emotional processing, using machines to process, reflect, and let go. The result is a body of work that loops back on itself, telling a story of fleeting moments and their lasting emotional imprints.




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Rights: World excluding FR, UK

1x Black Vinyl 180 gr, 1x sleeve 3mm spine + UV gloss, 1x black inner sleeve. Sticker

LP
A1 FOIE GRAS 2’04’’
A2 SYLVIE 2’53’'
A3 DATE 2 1’21’'
A4 UN ATTIMO 1’38’’
A5 HOT IN HER 2’45’’
A6 BORRACHOS feat DIO MC 1’06’'
A7 EASYJET 2’19’'
A8 SERENATA BARBECUE feat FRAH QUINTALE 2’26’'
A9 HITS ME 3’14’’

B1 FOIE GRAS (INSTRUMENTAL) 2’04’’
B2 SYLVIE (INSTRUMENTAL) 2’53’’
B3 DATE 2 (INSTRUMENTAL) 1’21’’
B4 UN ATTIMO (INSTRUMENTAL) 1’38’’
B5 HOT IN HER (INSTRUMENTAL) 2’45’’
B6 BORRACHOS (INSTRUMENTAL) 1’06’'
B7 EASYJET (INSTRUMENTAL) 2’19’'
B8 SERENATA BARBECUE (INSTRUMENTAL) 2’26’’
B9 HITS ME (INSTRUMENTAL) 3’14’’


SHORT INFORMATION/ SHORT BIOG

After meeting on Mr Oizo ’s "All Wet" album, Mr Oizo and his Italian mate Phra went back to studio.
6 years after, this time as an unexpected duet, they wrote and composed together a 9 song "Italian Hip Hop" mini album, also reminding the spirit of mixtapes such as done by Madlib.
Mr Oizo aka Quentin Dupieux, one of the most exciting French music producer & move director, offers a new musical direction. Mainly mid-term, different from some classic powerful French Touch 2.0.
1 x 180 G Black Vinyl. A side: The album / B Side: The Instrumental album as bonus





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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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CD - Remastered by Manuel Göttsching

GENRE/S: Krautrock, Kosmische, Early Progressive-/Psychedelic-Rock, Early Ambient.


Tracklist CD:


1 Laughter Loving
2 Daydream
3 Schizo
4 Cosmic Tango
5 Interplay Of Forces
6 The Fairy Dance
7 Bring Me Up


"Starring Rosi“ is the 5th Album by Ash Ra Tempel. Released 1973 in the same Year as "Join Inn".
The CD Version is remastered by Manuel Göttsching himself.


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Territories:WW-US,CA,UK, BENELUX

FORMAT: 7” LTD Black Vinyl (700) + Booklet

Tracklist:

SIDE A: Spanish Song
SIDE AA: Trees & Flowers / Go Away


2025 Repress.
Originally released in limited formats in 2017 and having since been repressed several times, 2025 sees
a new pressing to acknowledge the enduring legacy of this recording. In 2024, the song Trees & Flowers
became an unexpected hit on Tik Tok and introduced a new generation to these timeless songs.

“1982 4-Piece Demo” is the first official, fully-licensed and unreleased material to be released under the name
Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences
in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band’s
mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn’t a
complete picture.

Bryson and McDowall’s growing friendship, having met some years earlier on the punk scene, became a creative
partnership: Bryson’s art school background and McDowall’s history in avant-punk group The Poets meant
Strawberry Switchblade was a band pitted against many established norms. The band’s very first incarnation,
an all-female 4 piece, recorded one demo at Glasgow’s Hellfire Club and played a handful of gigs. Friends
Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry
Switchblade would eventually pair down to a duo and go on to chart success but it’s in these raw, passionate
recordings that the songwriting and vocal elements were being hammered out and explored in real time.
“Spanish Song” is a previously unreleased song. With Rose McDowall’s instantly recognizable lead vocal
dovetailing with Bryson’s harmonies and lead guitar, it’s the first glimpse at an alternative history of Strawberry
Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indiepop revolution that would take over British bedrooms a couple of years later. Trees & Flowers is instantly
recognizable, a bona fide classic that would earn the band its first record deal. Here it’s given a more forceful rhythm
section: Goodlett and McGowan’s playing is in fact accomplished and doesn’t hint at the bands’ youth. Go Away
would also surface later on the band’s debut LP but here it is a moody-garage stomper with a psychedelic, haunting
refrain.

These 3 songs point to a tantalizing future of the band that was never realized.
Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single
photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and
new text from contemporary Stephen Pastel.

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LP - territory: WW- UK/USA/CA/ Benelux

2CD w/ 24pg booklet

TRACKLIST:
1. Design - Premonition
2. Vision - Lucifer’s Friend
3. Richard Bone - Alien Girl
4. John Howard - I Tune Into You
5. Ian North - We’re Not Lonely
6. Selwin Image - The Unknown
7. Harry Kakoulli - I’m On A Rocket
8. Rich Wilde - The Lady Wants To Be Alone
9. Billy London - Woman
10. Alan Burnham - Science Fiction
11. The Microbes - Computer
12. The Goo-Q - I’m A Computer
13. Gerry & The Holograms - Gerry & The Holograms
14. The Warlord - The Ultimate Warlord
15. Die Marinas - Fred From Jupiter
16. Dee Jay Bert & Eagle - I Am Your Master
17. Peta Lily & Michael Process - I Am A Time Bomb
18. Sole Sister - It’s Not What You Are But How
19. Alasdair Riddell - Do You Read Me?
20. Karel Fialka - Armband (The Mystery Song)
21. John Springate - My Life
22. Incandescent Luminaire - Famous Names
23. Disco Volante - No Motion
24. Dream Unit - A Drop In The Ocean

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

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