@=@= Luke Vibert ------ inteview, biography, discography, photos, news
FUTURE STYLE
Luke Francis Vibert (and Arp 2500)
Also known as Wagon Christ , Ace Of Clubs , Amen Andrews, Butler Kiev, Kerrier District, Plug,
|
|
.
|
|
|
Luke Vibert Biography
 This Falmouth, Cornwall, England-based DJ has recorded under several pseudonyms, the most famous of which is Wagon Christ. Like his friend the Aphex Twin, with whom Vibert is a near-neighbour, this is another artist interested in pushing the possibilities of electronica, despite his musical origins as a drummer in a punk band. Vibert was first attracted to the possibilities of dance music in the late 80s. Another bedroom experimentalist, he recorded a techno album for Rephlex Records (as Vibert & Simmonds) before joining the Rising High Records roster shortly afterwards. Vibert released two disparate Wagon Christ albums for Rising High; 1993's ambient classic Phat Lab Nightmare, and 1995's hip-hop workout Throbbing Punch. Confirming his reputation as an artist who refuses to limit himself to any single style, Vibert released sample-heavy solo material for Mo' Wax Records and also inaugurated the drum 'n' bass project Plug. He returned to the Wagon Christ moniker for 1998's Tally Ho!, before collaborating with the UK's leading steel-guitar player B.J. Cole on Stop The Panic. He switched to the Ninja Tune Records label for 2001's Wagon Christ set, Musipal. Vibert has also undertaken remix work for Nine Inch Nails, Pitchshifter, Moloko, Howie B., and Meat Beat Manifesto.
Source: (c) Muze UK Ltd.
|
.
|
Luke Vibert Discography |
.
|
Albums
Lover's Acid (2005) - Luke Vibert
YosepH (2003) - Luke Vibert
Further Nuggets (2002) - Luke Vibert
Stop the Panic (2000) - Luke Vibert & BJ Cole
Nuggets: Luke Vibert's Selection (2001) - Big Soup (1997)
Musipal - Wagon Christ (2001)
Sorry I Make You Lush- Wagon Christ (2004)
Singles
Lover's Acid [12"] (2005) - Luke Vibert
Homewerk (2002) - Luke Vibert
Drum'n'Bass'n'Steel (1999) - Luke Vibert & B.J. Cole
Perfect Drug [EP #2] (1997) - Nine Inch Nails
Do Unto Others (1997) - Luke Vibert
Polished Solid EP (1996) - Luke Vibert
Remixes
Perfect Drug [EP #1] (2000) - Nine Inch Nails
Ko-Wrecktion (Remix) (2001) - Ko-Wrecktechnique
Boot the System/Atomic Moog 2000 EP (1997) - Coldcut
Perfect Drug [Single Versions] (1997) - Nine Inch Nails
Original Fire (1997) - Meat Beat Manifesto
Car Wreck (1996) - Funky Porcini
Ventolin (1995) - Aphex Twin
Soundtrack
Last Minute Soundtrack / Various (2002) - Original Soundtrack
|
.
|
Luke Vibert Ipse Dixit |
|
|
.
|
.
|
|
.
|
You were talking about your connection with Richard D James earlier. Why do you think there was such a concentration of people in Cornwall who started playing a kind of music that no one else was playing?
Luke Vibert: "I don’t know. I’m sure there were people doing similar things everywhere else… We were quite influenced by Aphex. He was like, THE man, in Cornwall. I started making electronic music in 1989 when I went to Sixth Form College with my friend Jeremy Simmonds, and I hadn’t heard of Richard then. We were in a band before that, a bit like the Stone Roses, Madchester kind of bollocks. We had this guy who was about thirty when we were twenty. He was the singer. He sung Beatles kind of things, and we would just make them funky. Then we got bored of carrying around the drum kit and stuff and just started making stuff in Jeremy’s bedroom because he’d just got a four-track recorder. Then we started hearing Aphex’s stuff shortly after, like 1990. It wasn’t Aphex Twin then, it was just Richard. People used to pass his tapes around saying: ‘listen to this, it’s fucking mad’ and we’d listen and it was like, 'Jesus!'… it was so advanced at the time. It was probably stuff that was like Selected Ambient Works Vol. 1. They all sounded a bit mellow and funky at the time. He was a really big influence. We were just starting to do stuff in our bedrooms, and his stuff sounded like he’d been working in his bedroom all his life. Also, he was the first person I knew who’d released music he’d made in his bedroom. That was really mind blowing for me. It seems such a small thing now, but at the time I didn’t think you could release music you’d made in your bedroom. I thought you’d make music in your bedroom and that would just be a demo, and then you’d go to a big studio, work with fucking horrible engineers, all that classic image. It was amazing to be there at the time. I don’t think it’s got anything to do with Cornwall, except that it was quiet and boring, and we didn’t have any scene shoved down our throat like you get in London. In Cornwall there was nothing. You’d have to do it yourself. We didn’t have enough money to come up to London, so we just stayed there. I wouldn’t move back there, it’s a nice place, but… Richard still feels Cornish. I asked him the other day: ‘do you feel Cornish?’ and he was like, ‘yeah, of course’.
Source: The Milk Factory
What percentage of your music is sampling would you say?
Luke Vibert: "That depends what you mean. Lots of the sounds are samples, some from records, some from my analogue synths or drum machines or a microphone or whatever..."
What's the other however much percentage made up with do you think?
Luke Vibert: "Um - soft synths/drum machines, anything kind of computerized really!"
Source: Pixel Surgeon (by Sam Gilbey)
|
advanced technologic sound magazine
2005 December issue 144
|
