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. 'Accordian McShane' makes light work of timpani and massed crazy orchestral stuff. '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, 'Sentimental Hardcore' delivers Disney with gurns. '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.