Republic of Music
It’s been the best part of a decade since I’ve listened to Luke Vibert, not for any reason – beyond the fact that it was all just getting a little too hard to keep up, he’s super prolific across albums under his name and various aliases (such as Wagon Christ and Kerrier District). I always liked what I heard, particularly the YosepH album – which is where I left him. That still gets more than an annual spin.
So it was a comfort to hear that the latest Luke Vibert album, his sixth under his name, has all the warmth and colour I remember from those previous releases. And there’s that undeniable slinkiness to the grooves. Here he’s working primarily with the Roland TB-303 and he coaxes smooth sounds, but still those surprising, quirky twists and turns. Big, fat, rubbery bass lines dominate across Six Eight, Acid Jacker, Acrobat and Acage; the centre of the album. It’s all very early hours of the morning in an off-the-beaten-path nightclub, but it’s also 10am-with-a-cuppa-tea music too. If you want it to be.
The opening title track sets up much of the tone, but it’s on the second track, Stabs of Regret, that the acid-user’s ideal of disco falls firmly into place.
I’d like to say it’s a return to form but I’ve been away from this music too long to say that – it’s probably insulting to even suggest this. But it’s certainly Vibert still at the top of his game and as good as I can remember. I’m a fan once again.