Chilean of origin but raised in the UK's Midlands, Cristian Vogel's music fetish began in his early teens playing keyboards in local bands and programming customised sequencers on home computers. In the late eighties he hooked up with Si Begg's "Cabbage Head Collective", who were producing and distributing electronica/tape cut-ups and general weirdness.

1992 brought Cristian to Brighton's southern shore for study in 20th Century music at Sussex University despite having little or no orthodox training. Brighton's mixture of hedonism, subversion and seaside sleaze clearly got his creative juices flowing and within six months of arriving, Cristian, along with a dedicated gang of equally passionate Technoheads, was promoting and performing at underground techno nights around Brighton.

His first EP, the "Infra" EP (Sept. 1993) on Dave Clarke's Magnetic North, burst the Techno scene in a rock hard, machine driven industrial frenzy. This was followed by two EP's for Russ Gabriel's Ferox and Berlin labels. Following his UK label success, Vogel branched over the Channel into the established world of German Techno, and recorded "Intersync" for Force Inc., a record that Cristian recognises as being perhaps the most important breakthrough in his career. Followed by two EPs as Inevitech (with Si Begg) for Thomas Heckmann's Trope label, these releases were the beginning of a special relationship between Cristian and the German techno scene.

Summer 1994 projects included Vogel's final Magnetic North release, the storming "Lambda" 12", and the start of Cristian's own label, Mosquito Records, and the beginning of The Box club night in Brighton, reintroducing the town to the Techno sorely missing from its nightlife. That November he released the "Beginning to Understand" album on Mille Plateaux, giving him the opportunity to demonstrate the kind of thinking that goes into all his material in a much more accessible way than the four-track EP format normally allows. The LP trax were truly experimental without resorting to self-indulgent pseudo-artiness, although of course being a Twentieth
Century music student, this was sometimes unavoidable.

The continuing respect for his work in Germany led the way to Tresor Records. As the first ever UK artist he recorded the "Absolute Time" double pack, released in the Spring of 1995. It was a different trip from his work with Mille Plateaux, much more concerned with a conclusive exploration of dance floor constructions - a reliable DJ tool with each track creating the larger scale structure of a DJ club set (which is after all the way most people consume dance music; in 1-2 hour experiences made up from smaller discrete chunks). That's the concept behind it, apparently...

The Vogel stable continued to keep the underground vibe alive for UK Techno. His first A&R mission for Mosquito uncovered the next wave of the New School; the young, hard Scotsman Neil Landstrumm, producing many outings for their project Blue Arsed Fly. The acquisition of new machines in the summer of 1995 helped to inspire and produce Vogel's third album, "Bodymapping" and although still a DJ's delight, "Bodymapping" is also an album in the traditional sense of that term - listenable at home, in bed, in the car, and all the way through. He shies from the term "concept album", but the basic tenet of pure Techno - the body and sexuality, are at the basis of such music. It makes you want to bump and grind whilst doing something fantastic to your mind.

John Peel's (of Radio One fame) consistent support of Cristian's music brought together his first Peel Session which aired in November. The Session tracks later appeared on Brighton's Solid records and Cristian's next album project, "Specific Momentific" (Mille Plateaux, 1996).

Cristian committed in 1996 to building an infrastructure for himself and fellow artists to help them to run their business affairs. Roping in Emma Sola for organisation and Mat Consume for graphic design, the brainstorm of starting a company representing their interests and headquartering other friends in similar career positions brought forth No Future Management. A No Future EP series by all the artists was released throughout 1996 and gave brilliant ammunition for the several memorable No
Future-organised parties and Cristian's incessant gigging the in the USA, Europe, Japan and South Africa.

An intense 1997 for Cristian and all those involved with No Future. While Cristian's demand for DJ'ing and recording abroad was growing, Techno suddenly lost virtually all UK club support, venues banking on Big Beat and Drum'n'Bass. This trend displayed itself in the appalling attendances at The Box club night despite the calibre of the superb guests, residents and visuals. Mutating The Box into Defunkt brought a brilliant showing at Brighton's first ever Dance Parade that June bringing 20,000 people to the Brighton sea front, where Defunkt's afterparty stood proud and packed all night during Cristian's rare live PA on the Nord Lead. Cristian's musical reaction was his pessimistically titled fifth album, "All Music Has Come To An End", indicating the quiet despair for Techno's support at the time, but more significantly reflected his belief in Baudrillard's theory that art would cease to exist at the end of the 20th Century in the forms that we have come to recognise - the influence of digital media would create new more egalitarian forms. Phew. It almost came about in the form of "Trash: Industrialsamplecoregouchbeat": a compilation project conceived and executed by No Future's Consume and Lynton Million featuring Vogel's DJ Decay guise on the album.

A vastly improved 1998 aired Cristian's second Peel Session in January and birthed an unexpected combination in the studio pairing him with No Future newcomer Jamie Lidell resulting in surprisingly very different work resolutely not Techno. An absolutely new take on dance music production, it paired Lidell's multi-octave soulful vocal skill with Vogel's die-hard production and unprecendented video and technological support provided by Brighton locals Loaded Records.

Fully recognized and embraced in the global media, the project continues to stun audiences with their live performances and debut album "Head On". In 1999 Cristian also was setting up an online shop on the no-future.com web site, helping Consume and Million with "TRASH 2"; moving his studio, and recording his sixth solo album on Tresor, "Busca Invisibles". In 2000 he came to stay in Berlin for a few weeks to start recording the second Super_Collider longplayer with Jamie Lidell. At the same time NovaMute Records prepared the release of his next solo work "Rescate 137". Nine career albums and over twenty-five EP/12" appearances have kept Cristian Vogel's carvings of sound and culture a leading light for a worldwide fanbase that demands and wonders about.

www.myspace.com/cristianvogel