Recognizable signifcants appear in the non-music complex, but without immediately evoking the corresponding signified. "Astro cumbia" refers even quite foregrounded to the music style "Cumbia", however the reference is empty in the positive sense. This non-music is ever already in the process of transfer, with which the realization of an audible sound becomes the base level of the temporal frame to which future reference is made.
Beyond genre delimitation and fragmentation, it is non-music in the post, without itself immediately becoming a cliché, like deconstructed club music or hyperpop. Without being superficially conceptual, the musical material alone succeeds in creating a different, coherent, sonically possible world.
Cristian Vogels music is about the flow, creating and- re-creating sound, the intervallic concepts like the quantisation of oscillators, continuously morphing and modulation molecular rhythm structures, combining software and hardware with the uniware of the mind, accepting the insecurity of algorithms and at the same time modelling its parameters – ex-perimenting in real-time.
Cristian Vogels new album on Mille Plateaux creates a rhythmight that is constructed from the anticausality of Rhythm as counter-counted, the tracing of the rhythmicity of Rhythm in the creation-in-Rhythm. Rhythm is foreclosed to hearing. Non-music radicalizes this notion by subtracting hearing from the framework of experimental music, which claims that everything is heard from Rhythm. The material of music is the continious flow itself. Cristian Vogels method for this way of creating sound is called Rhythmics.
Any non-musical world that can be made is a world scrambled together from the ingredients of an old or existing world. But non-music, as Cristian Vogel shows, is to create an outside of the world we already listen. An artefact as music for a non-opera of the future.

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