Papis Chulos & A Caribou, Oh My!
Modeselektor go from mama’s boys to proud papas
Modeselektor’s down ‘n dirty techno takes no prisoners. The duo’s live shows are bombastic assaults on the senses that leave no genre unturned — crunk, dub, and electro all get worked into the mix with equal abandon. Gernot Bronsert and Sebastian Szary have been kicking around since 1996, but the one-two punch of their 2007 Boogy Bytes Vol. 3 mix and this September’s full-length, Happy Birthday! — both for their longtime home Bpitch Control — have set the world’s dance floors atwitter with sweaty glee. Earplug’s Jorge Hernandez rang up Szary to talk shop, babies, and bingo while Bronsert puttered and muttered around in their Berlin home studio.

Earplug: This is a new studio?
Sebastian Szary: We left the studio one year ago because the house was under reconstruction. During the production for Happy Birthday!, we did several tracks at Gernot and his girlfriend’s home. Now she’s pregnant, my girlfriend’s pregnant. It was all quite a production.
EP: When are the babies due?
SS: Mine’s coming first, in October; Gernot’s is due in December. This is the first time. I don’t know what will happen then. This is a new experience.
EP: A lot of club kids are having babies now. What’s going on?
SS: That’s the reason we called the album Happy Birthday! We had a lot of different names for it. We were going to call it 700 Years of Modeselektor, Name Dropping Volume 1.
EP: Are you guys going to take some time off?
SS: No, the babies are coming during tour stops. I think it’s a never-ending tour. The last tour we played for a year and a half, closing on New Year’s in Glasgow.
EP: Are you coming to the States?
SS: Of course. Maybe spring next year. Our first show in the US was in Missoula, MO, last year. Can you believe it? David Lynch is from there. It was on a Wednesday, in a bingo hall. The guys that booked us put in a sound system and some lights, and we had 400 people there. One day later we played Seattle, then San Francisco, etc.
EP: What was the most interesting show?
SS: Detroit was interesting. We played the DEMF, but not the festival. We played at a theater. I never saw a city like this. It’s a shrinking city, but it’s a moving city.
EP: Wasn’t Berlin like that at some point? It’s been very trendy lately.
SS: It’s a good place for working, but it’s not paradise. It’s dirty, loud. But it’s cheaper than New York, and good food. Lots of communities from everywhere.
EP: You have a lot of people on this album: Otto von Schirach, Paul St. Hilaire…
SS: With Otto, we did this amazing cover version of Scooter’s “Hyper Hyper.” I said, “Do you know it?” He didn’t, so we sent him the original and then we did it. You know Otto? He’s a big blond guy with brown skin and he does shows with big outfits.
EP: How did you hook up with Paul St. Hilaire? You did something with him before — I think Dabrye did a remix.
SS: The Paul St. Hilaire song is a Moderat track, because we did it with Apparat, so we call ourselves Moderat. It’s not in the credits, but that’s it. Gernot worked at a record store called Hard Wax and Paul would come in. He started coming to our shows, then said, “Let’s do a track together.” He’s very organized.
EP: How did that work? I imagine you’re more spontaneous.
SS: In the past, we’d go in and just start pushing buttons. But for the new album we’d start at 6am and work like a regular day with a break in the middle for lunch, then we’d work some more.
EP: Which one of you is into customizing gear?
SS: I started with an 808 back in 1990, to learn how it worked. Then I met Gernot and we started working together.
EP: What were you planning on doing before music?
SS: Gernot used to work with handicapped kids. And I did a very dirty job. I worked in a concrete plant. I did that for a few years; then I found my second life.
EP: So now it’s just music? You don’t miss your old jobs?
SS: Modeselektor is our life now. It’s everything.
Album Review
August 30, 2007
Up in Flames is more than just the title of Manitoba’s final album: it also describes Dan Snaith’s transformation into a new production entity. Forced to reinvent himself after a legal tussle with a cantankerous rocker, Snaith emerged anew as Caribou for 2005 freak-jazz opus Milk of Human Kindness. On his latest record, Andorra, the producer returns with an even tighter, more rhythm-centric sensibility. Named after a Spanish town, the nine-track EP is heavy on harmonics and cascading walls of sound. The self-produced album swings with a big-band vibe, pumping psychedelic pop full of electronic reverie. Opener “Melody Day” proves that even flutes can rock, and rave-ready mini-epic “Niobe” brings the funky white noise to a tenderly layered close. Gilding the lily, Junior Boys’ Jeremy Greenspan joins in, as well, dropping lush guest vocals on “She’s the One.” Losing his identity may have been inconvenient for Snaith, but Andorra makes musical resurrection feel more like an act of magical rebellion.
-JH







































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