techno, soulless minimalism is often equated with funkiness. Producers whose idea-wells have run dry substitute Spartan click-tracks and numbing repetition for the sparks of genuine innovation. This dearth of creativity makes the value of crafty machine-funk engineer Cristian Vogel all the more inestimable. Vogel wasn't merely rattling cages when his 1996 album proclaimed ALL MUSIC HAS COME TO AN END. The Chilean-born doyen of Brighton's vital No Future collective meant to issue a C&D on the complacency that was destroying techno. With tweaked live-wire loops and deliciously haywire rhythm programming, he did just that.
Having denounced the status quo, Vogel is now responsible for setting an example. BUSCA INVISIBLES turns on his customary wit and weaponry. He toys with the structural elements of "track-y" techno, applying precepts from his academic studies of 20th Century music to the music's resolute rubber-band rhythms and champing mechanics. Vogel crams gritty sounds into the gaps between tight revolutions, widening cracks, prizing beats and basslines apart like so much lead pipe. As progressive distortions warp such tracks as "Shoe Renounce Soul" and "Slices Of Sink" out of shape, the exuberance of improvisation is brilliantly captured in the birth and mutation of BUSCA INVISIBLES' unexpected forms.|

Rovi