14th November 2014
CD, vinyl & digital
How Many Grapes Went Into That Wine
Lost In The Chase
Society Of Hands
D1 is vinyl-only.
Producer CRISTIAN VOGEL, born in Chile and in raised in Brighton, England, represents the inner turmoil within the history of electronic music and techno. Like only a few other artists such as Aphex Twin, he personifies the second wave of techno during which the concept of authorship, previously pronounced dead, returned in full force. His unique approach to composition gave a distinct touch to his sound, which now finds its place very naturally in the context of the modern music; back then though, it did more than just shake up the concepts of techno. “Complex and intricate rhythms dig deep chasms in dark listening spaces.” (Süddeutsche Zeitung)
In 1996, together with JAMIE LIDELL as SUPER_COLLIDER, he made a final attempt to breathe life into electronic music, which was still primarily seen as dance/rave/club music, and produced clustered break funk music that was so relevant to its time that many considered it more a music of the future: science fiction for the dance floor. Although the project was not a failure, it did not succeed even halfway in meeting the expectations of an artist who was rather perplexed by the lack of interest from others in considering music as art and research. Vogel believes that music has a will to unfold, like a jungle from the undergrowth of industrial cities.
Escaping the rather predictable hedonism of the UK club scene, Vogel moved to Barcelona in 2001 and bound his explosive ideas to the Station 55 studio and labels. He continued to curate networks (No Future, Sleep Debt) whilst at the same time, expanding the horizons for his music, creating outstanding work for contemporary dance, sound art and even his indie-rock group. After a decade of mediterranean experimentalism, Vogel relocated to Berlin in 2012 where he made his first new and daring attempt to assimilate everything that electronic music represented to him, on one critically appraised album: ‘The Inertials’ on SHITKATAPULT. Shortly after, his mystical, floating ambient work ‘Eselsbrücke’ was released, already exploring so many inspirations from his life in the new city.
Now in 2014, we present the follow up to ‘The Intertials’ entitled ‘Polyphonic Beings‘ – a true masterpiece in the inimitable Vogel style, as his fans will no doubt agree. ‘Polyphonic Beings’ begins with a surprisingly dub track which twists and turns, the sounds growing darker and more unexpected from track to track, minute by minute. An eerie and unbelievable sound, with all as it should be: every reverb tail, every movement of the fader, every composed note takes the listener piece by piece into Vogel’s own cosmos.
He foregoes interwoven elements for swaying towers of rhythm, powerful sound passages, spaces, roads, mirrors and pathways, leading to a stream of ideas that never wants to end. He aptly quotes Karl-Heinz Stockhausen in the liner notes: These are the „atomic layers of ourselves.“ And so it is. We are what we hear. This is the definitive CRISTIAN VOGEL.
“The Inertials” album
© Photo by Marie Staggat