Moderat at The Albert Hall in Manchester review

Image: Moderat

There are few more iconic sights in electronic music than four silhouettes proportionally poised on stage to form Kraftwerk. Moderat, the seismic IDM triumvirate made up of Apparat and Modeselektor, bare overt similarities to the group in the sense that they are not only a German electronic ensemble, but as equally awe-striking, both visually and sonically. 

A three year gap had formed between their propulsive second record II and this year's third in trilogy III: a continuation constructed from post-apocalyptic world, leaving many band contemporaries to marvel in tow beneath the aurora of the trio's sonic landscapes. 

The Albert Hall in Manchester is arguably the city's most grandoise of settings. A full capacity chapel is all the more impressive with punters spilling over its rafters against a backdrop of stained glass windows. Atleast in usual circumstances. Moderat bettered the snapshot with Gernot and Sebastien of Modeselektor flanked either side of Sascha Ring aka Apparat, backed by stunning production.

Ring's crooning vocal would serve no injustice to fit the bracket of Thom Yorke or James Blake, evidenced by his opening confessions on 'Reminder' that mulled into utopian passages. His voice slided seamlessly into stripped back arrangements, caressing the zen-like mood, until the musical landscape eventually transcended into clubbing territory via pulsing improvisation.    

Clusters of the set-list were bridged by unscripted parts, usually gathering roars from the crowd, respondent of an acceleration in rhythm, an upsurge of bass or an extension of a stargazing melody. As was this case, the bleeding of a kick drum to signify the entry point of 'Running'. 

A rework of Jon Hopkin's 'Abandon Window' and 'Eating Hooks' - recently remixed by Siriusmo - were early highlights that consumed the audience. The latters Burial-harking breaks began the acclimatization from experimental wonderment to club slanted euphoria - demonstrating the ambiguity of 'techno' and its fluidity as a genre in the hands of Moderat. 

Each twist and turn in the show was matched by a laser led lightshow. During II track 'Rusty Nails' a prism of red lasers formed around the trio while the screen behind them displayed the lyrics 'Hell Is Above' encased in a triangle. More tracks from their self-titled followed, notably Les Grande Marches that made way for 'No.22' to build like a trance pile-driver.

The swelling drum machine bashing and building to godlike moments meant that you were left contemplate whether to hit  the clubs afterwards. It was a Wednesday night after all, but an encore which included Sascha slinging a guitar for 'The Fool', roaring epic 'Intruder' - and its serotonin sapping synth breakdown - effectively sealed a sore head at work the following day. 

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