Artist: Wagon Christ
Genre(s):
Trip-Hop
R&B: Soul
Dance
Jazz
Electronic
Discography:
Sorry I make you lush (ZEN091)
Year: 2004
Tracks: 10
Sorry I Make You Lush (Ninja Tune) ZENCD91P
Year: 2004
Tracks: 10
Sorry I Made You Lush
Year: 2004
Tracks: 10
Musipal
Year: 2001
Tracks: 13
The Power of Love
Year: 1998
Tracks: 1
Tally Ho!
Year: 1998
Tracks: 13
Throbbing Pouch
Year: 1995
Tracks: 17
Phat Lab Nightmare
Year: 1994
Tracks: 8
Luke Vibert is one of a new breed of European golf-club medicine experimentalists whose exercise spans several genres at the same time, and is 1 of a very few of that set to make whatever headway with U.S. audiences. A native of Cornwall, Vibert's work has been compared with other West Country bedroom denizens like Aphex Twin and µ-Ziq, although his yield over the past tense few years has been far more eclecticist than that connection would seem to connote. Beginning with tweaky post-techno and moving through and through ambient and experimental hip-hop as Wagon Christ and, more of late, experimental drum'n'bass as Plug, Vibert has explored the outer reaches of post-techno electronica without sounding headlong or last word. Although Vibert's low gear musical know was in a Beastie Boys knockoff striation called the Hate Brothers, he cursorily touched into the low-cost environment of solo bedchamber composition. Although he had no intention of e'er releasing any of the puzzle out, his report as a creative young voice in stylistic crosspollination has created an increasing need for his pioneering, often left field work.
Vibert became byzantine in electronic music through his passion of Christ for rap (he has commented that rap music is the only euphony style he really keeps up with), as comfortably as the environment of bedchamber experimentalism associated with the swelling late-'80s U.K. dancing scene. He released an album through the Rephlex label (a solo record album all the same billed as Vibert/Simmonds) earlier coming to the attending of Caspar Pound's Rising High label. As a final result of the growing exchange economic value of the style, RH commissioned an ambient record album from Vibert, world Health Organization, despite ne'er having heard much ambient, delivered the well-received Phat Lab Nightmare under the Wagon Christ name in 1993. Silent (just for the quick fix EP At Atmos) for near two eld following its button, Vibert came plunk for in early 1995 with Pounding Pouch, a solicitation of minimum, ill-scented, off-kilter hip-hop that had fans intimate with his originally act scraping their heads. Though lumped in with the so-called "trip-hop" movement attributed to Portishead, Tricky, Massive Attack, and the Mo'Wax label, the album's offbeat, nervy edge was anything but rocklike and mellow. Following up with a number of remixes and a Mo'Wax EP under his have call, Vibert embarked on his following major sport with his Plug plan, releasing a trio of sample-laden, epileptic jungle EPs, as well as the Drum'n'Bass for Papa LP in 1996. Wagon Christ's Tally Ho! followed in 1998, and Vibert reverted to his have advert for 2000's Stoppage the Panic. Musipal followed in early 2001.
Richard Maxfield; Harold Budd
