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on 8 April 2011
Luke Vibert, aka Wagon Christ has delivered a clever, fun and well mixed/sampled album to delight fans and newbies alike. Introfunktion's start immediately puts you in a good mood; it continues with variations such as a more uptempo feel to Manalyse This! and My Lonely Scene but then chills back down to a laid back balaeric / hip hop groove tinged with the acid breaks and bleeps familiar to previous albums. If you get as far as no.14 Harmoney, you just sit back and bask in sonic brilliance. Musically, I sort of liked it on 1st listen. Having had it on the car cd for a week, I grew to love it and now it stays there, played every other day. What I've always enjoyed with Luke's music is his ability to inject it with a feelgood factor, humour, even wistfulness which maybe is a throwback to his more carefree upbringing in Cornwall.

All in all, my album of the year so far. I loved Sorry I Make You Lush, especially the immense 'Shadows' which was sampled from '007 and Counting' on the Diamonds are Forever Soundtrack. And that is where Wagon Christ stands apart from similar artists. His ability to seamlessly weave a vast amount of samples taken from other songs, films, spoken word and pretty much anything, into occasional music samples and his own creations make for quite a unique end product. If you were to cross Mr Scruff with Aphex Twin, you may be some way towards the sound of Wagon Christ but he is very much his own man. His tracks can deliver emotion; some of them I find happier than others and I don't think I can think of many electronic artists I could ever say that of.

I only wish he was more accessible live but his cd's are worth the wait. If you enjoy it, take an immensely fun journey back through his albums and realise his diversity from his own name Luke Vibert, Wagon Christ, Plug and Kerrier District. For anyone discovering Wagon Christ for the first time, this album isn't a bad start but also try his earlier release Sorry I Make You Lush (2004).
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on 4 August 2011
I am a big fan of Wagon Christ's earlier work and would recommend that you get hold of "Tally Ho!", "Musipal" and "Sorry I Make You Lush" without hesitation. However, once you've done that you might begin to see why I am disappointed by "Toomorrow". In essence it is simply more of the same sound that made those earlier albums so great but there is too little variety and too much rehashing here to make "Toomorrow" worth the effort. Interestingly the final track ("Mr. Mukatsuku") is quite reminiscent of the classic "Shadows" but, again, that only serves to remind you that it is Luke Vibert's early work that is worth seeking out. I'm afraid I would place some of Luke's other recent work ("Rhythm" and "Chicago, Detroit, Redruth") in the same category as "Toomorrow": one or two good tracks and a lot of repetitively forgettable stuff. Shame.
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