Luke Vibert darf man ruhigen Gewissens als musikalischen Tausendsassa beschreiben. Seit den fr�hen 90er Jahren zeigt sich der aus Cornwall kommende Produzent enorm offen und ver�ffentlichte unter verschiedenen Pseudonymen durch die Bank exzellente und innovative Alben. 1997 releaste er auf James Lavelle Mo' Wax Label, es folgten zwei Wagon Christ-Alben auf Ninja Tune ("Musipal" und "Sorry I Make You Lush"), auf dem Label Nothing Records widmete er sich seinem Plug Projekt, Remixe f�r Gr��en wie Nine Inch Nails oder Meat Beat Manifesto kamen hinzu. 2003 erschien sein erstes Album "Yoseph" auf Warp unter dem Namen Luke Vibert und "Moog Acid" mit Jean-Jacques Perrey erschien 2006. Mit "Toomorrow" gelingt Vibert ein spannendes Album zwischen Electronica, Exotica, Psychedelic Grooves, Dubstep und l�ssigem Electro-Funk! Gespickt mit witzigen Samples und der Tatsache, dass sich Luke Vibert selbst nicht all zu wichtig nimmt, macht dieses Album enorm Spass und d�rfte sich nahtlos in seine Highlights wie "Yoseph" oder Kerrier District-Ver�ffentlichungen einreihen. The one and only Luke Vibert returns to the fray under his most celebrated and wondrous moniker, Wagon Christ (to clarify, he is not under a wagon. Nor on one. Nor is he, strictly speaking, Christ, though we can�t rule out his messianic status). The king of stoned exotica, ridiculous vocal samples, toothsome puns, swinging rhythm and the psychedelic groove, Vibert has never been one to take himself too seriously, but his music continues to delight. 'Toomorrow' is a case in point. Built around a dizzying array of vocal samples � by turn funny, vacuous, pointed and occasionally threatening � the album spins out in a hundred and one directions whilst always being recognisably a Wagon Christ production. 'Ain�t He Heavy, He�s My Brother', sounds like an instrumental outtake from a lost album by A Tribe Called Quest on ecstasy. 'Manalyze This!' combines pounding bass with the campest keyboard line heard outside of a tent. 'My Lonely Scene' soundtracks a singles-club disco for monsters, while' Respectrum' is cop show music for Emo Phillips. 'Rennie Codgers' emulates Blackpool-beat at its most advanced while 'Wake Up' is reminscient of being chased through a particularly disturbing sex dream by bees. 'Lazer Dick' brings pure phazer-phunk, 'Harmoney' is an advertisement for non-ironic mullets and 'Mr Mukatsu' finishes the record with a limping, limpid beauty. With recent releases on both Planet Mu and Rephlex, Luke Vibert remains one of the key players in the scene that developed out of Cornwall and the West Country in the mid-nineties. 'Toomorrow' is a funny, clever, swinging, moving reminder of why.