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British producer Christian Vogel (born in Chile) is a proponent of
dissonant techno, an unlikely but vibrant kind of dance music.
The single Tales From The Heart (X Force, 1995) and
Plastered Cracks, on
Specific Momentific (Mille Plateaux, 1996),
displayed his skills at de/re-construction, that triumphed on
All Music Has Come To An End (Tresor, 1998).
Busca Invisibles (Tresor, 1999) is equally engaging but basically
repeats the same tricks.
Super_Collider was a collaboration with
producer/dj
Jamie Lidell
whose Darn was extremely popular in fusing
techno, funk and vocals. Cut The Phone and Take Me Home on the
album Head On (Medicine, 1999) are less entertaining but more
sophisticated; and Darn is also entertaining. The combination of
Lidell's soul crooning and Vogel's ambient soundscapes creates some haunting
atmospheres. After Lidell's solo Muddlin Gear (Warp, 2000),
another deranged case of dissonant funk music, Super_Collider concocted the
techno-soul ballads of
Raw Digits (Rise Robots Rise, 2002), even more sophisticated and
even less entertaining.
Vogel returned to his Latin roots on Rescate 137 (Novamute, 2000),
particularly La Isla Piscola.
Dungeon Master (Tresor, 2002) returns to the classic style of
Specific Momentific.
Station 55 (Novamute, 2005) is derivative and unfocused, the kind of
album that artists make only because the marketing executives expect one
(and, ultimately, because they are not artists).
The Never Engine (2007) is a parody of his own techno style.
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