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Germany's inimitable magazine for music, media, culture and self discipline, De:Bug, presents one selected album for a special price each month.

Cristian Vogel likes it up close when it comes to his fan base. It might not be the largest under the rave-sun, but what it lacks in size it makes up in enthusiasm and commitment. For the past 12 years Vogel and his followers have been using the Erutufon forum to discuss music and audiotech nerd topics, with occasional get-togethers outside the web. In 2008 he surprised us with a volume of poetry plus included EP, strictly limited for his devotees. Together with them Cristian has now released his first crowd-funded album. His intention: "Bring back the direct buzz!"

'The Inertials' was made completely from fan contributions, which the former idol of Brighton techno collected last winter on pledgemusic.com. In good company by the way - Gang Of Four, Archive and the Libertines all successfully tapped their fans for funds there. Crowdfunding is nothing new anymore, and yet, in the light of current discussions about gratis culture and music as a means of subsistence, it is still a noteworthy alternative to the traditional music biz. A business Cristian Vogel has largely withdrawn from anyway in recent years: The studied composer preferred to create experimental pieces for theatre and dance and committed himself to researching circuitry and audio synthesis. On 'The Inertials' this can be heard transpiring through every rustling hi-hat, every granular background layer and all its meticulously detailed sound metamorphoses.

Album released 22-06-2012 on Shitkatapult
At long last, Cristian Vogel returns to the context of club music with a new album, and this time this context is dubstep rather than funky Brighton techno. Fans needn't worry though, as Vogel's brilliance in sound design and arrangement makes 'The Inertials' as much a classic Vogel album as it is mind-blowingly futuristic. Essential!
The man knows his craft, imbues it with spirit and most of all: soul. His old motto "Equating machines with funkiness" effortlessly fits the year 2012. Everything is super-advanced, but not a bit insincere. Case in point: "Todays Standard Form". A three-minute-exercise of piano and subtle electronics, far away from syrupy TV entertainment muzak, but also no unwieldy composition that incorporates the Pythagorean theorem, but has little else to say. How close the album comes to contemporary bass music is a surprise. Some tracks can be effortlessly woven into dubstep sets, their abyssal subbass counting in half-time. It's all provided with Vogel's inimitable touch: Sounds constantly criss-cross your field of hearing, dissolving to crumbs you want to best pick up and ingest. Grooves unexpectedly disintegrate and reassemble. Not every track is danceable, but if one is, you will want to dance all the more enthusiastically.

All barriers break down with the eleven-minute epic 'Spectral Transgression' close to the end. Mid-track a straight bass drum slides beneath the jittering, pulsing synths, and dubby chords deliver us from all the world's burden. When the album was finished Cristian Vogel tried to listen to it in his bathroom, but: "It's too intense for that." Ok then: Into the clubs with it - those with the best sound systems and the most ecstatic audiences. Off to the next future!

FRIDAY

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check out Red Rack'em's Berlin album launch party on Nov 26th here; http://www.residentadvisor.net/event.aspx?199661
davey, 2 years ago via zero-inch.com
Absolut fantastic Music. Throbbing Gristle combined with african rhythms.
janros16, 2 years ago via zero-inch.com

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