• Luke Vibert - Lover's Acid

    Reviewed by the milk factory (www.themilkfactory.com)

    <b> Luke Vibert </b> - Lover's Acid

    Although acid was always part of Luke Vibert’s musical make-up, and had infiltrated almost all his records in one way or another, it was not given a proper platform until YosepH a couple of years ago. Yet, Vibert had already managed to place a series of limited edition four-track twelve-inches filled up with his unmistakable blend of acid on Mike Paradinas’s Planet Mu, starting with the 95-99 EP released in 2000, then with Homewerk two years later and Lover’s Acid only a few weeks ago. Collected on this album, these twelve tracks give a second chance to investigate Vibert’s acid in detail.

    If Vibert remained slightly in the background of his friends Richard D. James, Tom Jenkinson and Mike Paradinas for the best part of the nineties, his impact on the electronic movement is far from minimal. Processing influences ranging from hip-hop to ragga and disco to acid house via dancehall and jungle and scattering them over his various projects, from Wagon Christ and Plug to his collaboration with BJ Cole and the more recent Kerrier District, Vibert has quietly opened a considerable amount of doors and uncovered new territories that he often happily left for others to explore. The success of YosepH placed him duly back amongst his peers and gave his work the exposure it deserves.

    Very much like on YosepH, the tracks collected on Lover’s Acid range from classic acid (the utterly excellent Homewerk, Come On Chaos and Analord - the latter went on to give AFX’s latest series of releases its name), to more subtle and, at times, laidback settings (Gwithian’s lounge vibe refers to some of the more laidback Wagon Christ environments), creating an interestingly contrasted sonic journey. Vibert’s clear refusal to simply regurgitate formulaic dance music, developing instead his own take on the genre as demonstrated on YosepH, is tempered with an ostensibly more reverent approach here. The shadow of luminaries such as DJ Pierre/Phuture, 808 State or Baby Ford can at times be felt quite substantially, but this deflects in no way the impact of Vibert’s tracks and actually places them into context.

    Recorded over a period of almost ten years, these twelve tracks sound surprisingly consistent and contribute to give Lover’s Acid a true album feel. Yet, collected together and placed in a totally different running order to the original EPs, these tracks reveal in a much more flagrant way the vast musical range explored by Vibert throughout this project.

    Lover’s Acid shouldn’t be seen as a simple companion to YosepH. If the two records are linked, they denote a totally different approach to the genre, with Lover’s Acid being resolutely more dance floor orientated and offering more classic acid touches than its predecessor.

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