A relatively short offering (6 tracks including one external remix over a lazy half hour) from the much-monikered one (Wagon Christ, Plug, Amen Andrews et al) – and so a relatively short review in response from I.

Despite his almost pathological aversion to pigeon-holes you pretty much know what to expect from a Vibert release. Sure he’s tried his hand at almost every genre going around – be it trip hop, techno, drum ’n’ bass, weirdo-Aphex-esque-sound-excursions, even a pedal steel guitar collaboration with the decidedly un-electronic BJ Cole. At the end of the day however, any Vibert disc carries with it those readily discernible bloops and bleeping-blips, those jarring out-of-time staccatos – plus that unmistakeably off-kilter Vibert taint – pervading even the most generic soundwaves of whatever disc it is that he’s deigned to ascribe one of his innumerous alter-ego’s to.

That said, even though Vibert’s Kerrier District project represents an exploration of his more bell-bottomed/disco-orientated/acid-house side (an exploration begun numerically enough on Kerrier District Part One); AND whilst Mr Vibert manages to keep his usual ‘unique’ (read borderline mental) production flourishes to a bare minimum; AND whereas KD2 represents one of LV’s more readily palatable genre releases – you’d STILL have to be dead, possess a pair of dripping red railroad spikes where your ear-drums should be or (rather-less-traumatically) have never partaken of a Vibert release before to not IMMEDIATELY spot Mr Vibert’s great wobbly hands all over this record. Be it in the distorted synths screaming over the fat bass groove of disc opener ‘Ce Porte’, the spinning/filtered wah-wah’s and chunky elastic bass of ‘Robotuss’, or the psychedelic soft-shoe shuffle of ‘Realistique’…

Anyways.. my initially promised brevity is descending into turgid mounds of cloying waffle so I shall end by espousing that should you already be a freakily big Vibert fanatic – you ought probably to rush out and fill your bare gaping pockets with fresh steaming handfuls of this EP. Should you already be a freakily great fan of the whole disco/house/any-adjective-will-do genre you may appreciate the V-man’s unique bare-boned take on the tunes. For the other punters I may have missed with my shoddily haphazard categorisation – you may find this a professional-sounding, well-produced (if slightly cold and repetitive) exercise in electronica.