Possibly the most original of the neo-ambient trip-hoppers was Luke Vibert, also known as Wagon Christ, a protagonist of the British scene since the early 1990s.

Luke Vibert devoted his project Wagon Christ to the ambient side of the trip-hop equation with Phat Lab Nightmare (1994) and especially with the celestial trance of Throbbing Pouch (1995), exhuding abandon and fatalism. Massive sampling of orchestral sounds gave Tally Ho! (1998) an almost symphonic grandeur.

in 1994 Vibert's talent was featured on a series of recordings: the EP Sunset Boulevard (Rising High, 1994), the album Phat Lab Nightmare (Rising High, 1994), with the ever more psychological Mahadelic and Aerhaart, and the EP At Atmos (Rising High, 1994), that moved towards a more percussive approach with the likes of inside Out and Hasjit. These recordings were influential in redefining the standard for ambient rave music.

Throbbing Pouch (Rising High, 1995) is a sophisticated work of sampling that bridges the gap between jazz bands, electronic music, movie soundtracks and orchestral pop. The fluctuations of the sound sources have a neurotic quality that injects subtle atonality in Vibert's instrumental jams.
The album is neatly divided into party tracks and philosophical tracks. Reedin mixes a horns fanfare (that slowly decomposes), gamelan percussion, drum'n'bass beat, dischordant breaks, and industrial tapping. Floot's cheerful flute march presides over a sequence of rhythmic mutations. The celestial trance of Spotlight hides echoes of Morricone soundtracks and ethnic folk tunes. Scrapes is just debris of music reassembled to jam and dance. These experiments are highlighted by Vibert's sense of humour, besides his studio skills.
The alter ego takes over pensive tracks like Down Under, a slow-motion psychedelic shuffle oppressed by a sense of abandon and fatalism (boasting even an interlude for Japanese string instruments), Rexcist, a languid ambient texture roamed by booming bass, and Pull My Strings, a middle-eastern theme that surfs orchestral waves.
in between, Vibert concocts sophisticated trip-hop atmospheres. The bass-heavy funky rhythm of Throbbing Pouch is set to dissonant keyboard drones. The pulsing Phase Everyday plays tiny bits of noises against the jazzy mumblings of the keyboards and of the bass.
The tecnique tends to repeat itself (progressive alteration during repetition of polished dissonance, a sort of barbaric minimalism set to dance beats), but Vibert aims for the psychology and scores with several mood-pieces of minimal beauty but formidable intensity.

The EPs Rissalecki (1995), containing How You Really Feel, and Redone (1995) complement the album.

Vibert released under his own name the album Weirs (Rephlex, 1993), which collects vintage recordings from 1991-92 including pretentious experiments such as the 20-minute Reservoir, as well as the singles A Polished Solid (Mo' Wax, 1995) and Do Unto Others/ Dance Music (Mo' Wax, 1997), in a much more conventional hip-hop style. Big Soup (Mo' Wax, 1997) was instead a more destabilizing album thanks to Stern Facials, Voyage into The Unknown, Rank Rink Ring and Reality Check, bordering on trip-hop.

Vibert coined an original fusion of hip-hop stereotypes and electronic techniques which generated an intense rhythmic experience.

Under the moniker Plug he released brainy works such as the EPs Visible Crater Funk (Rising High, 1995) and Rebuilt Kev (Rising High, 1995), later collected on Plug 1 + 2 (Blue Angel, 1996).

The Slack Dog Ensemble, featuring Jon Tye, Kingsuk Biswas, Luke Vibert, Peter Smith and Robin Proper-Sheppard, released only the EP Slack Dog (1995).

The passion for melodic easy listening and film-noir atmospheres take over on Plug's third EP Versatile Crib Funk (Rising High, 1995), containing Versatile, and on the album Drums'n'Bass For Papa (Nothing, 1997), which compiles the eponymous EP (1996) and three EPs. These compositions transport Plug's program into the world of trivial dance music. The single Me And Mr Jones and the collage of Life Of The Mind are the most salient moments (the latter is missing from the US edition), but even Drums'n'Bass For Papa, Cur, Delicious, Maker Of All are entertaining and creative.

Other forgotten pieces of the era (1996) would be released years later on Back on Time (2012).

Wagon Christ returned with the single London is A Country (Electro Bunker Cologne, 1997) and with the EP The Power of Love (Astralwerks, 1998).

Wagon Christ's Tally Ho! (Astralwerks, 1998) continues Vibert's experiments with jazz (Fly Swat), hip hop (Memory Towel), funk (My Organ in Your Face, Juicy Luke Vibert), drum'n'bass (Rendlesnack), but his genius for bizarre beats and unnerving atmospheres is best displayed in the anomalous tracks (Tally Ho, Piano Playa Hata, Crazy Disco Party) and in a few psychedelic touches (Shimmering Haze, Lovely). The massive sampling of orchestral sounds gives the album an almost symphonic grandeur.

Stop The Panic (Astralwerks, 2000), credited to Luke Vibert, is a collaboration with veteran steel guitarist BJ Cole. The duo runs the gamut of country (Hipalong Hop), jungle (Baby Steps), funk (Start The Panic), rhythm and blues (Dischordzilla), world-beat (Cheng Phoey) with a light and serene attitude that contrasts with Vibert's neurotic beginnings.

Wagon Christ's Musipal (Ninja Tune, 2001) could be Luke Vibert's least ambitious work ever, but also his most infectious. The core of the album are bouncy (but not overwhelming) tracks such as the eight-minute Thick Stew (with a swinging jazz piano), Perkission (Caribbean rhythm, disco swells) and Musipal (a relaxing lounge/exotic shuffle) that radiate optimism and happiness. Vibert steals` ideas from musical stereotype that meant "having a good time", even jazz big-bands of the swing era (it is Always Now) and easy-listening orchestras of the 1960s (Tomorrow Acid). The witty use of samples created comic takes on rap, funk and soul such as Chris Chana and Receiver. The flute, organ and theremin motif of Bend Over and the lounge piano of Tomach interrupt the breakbeat fun with relaxing and retro atmospheres. This is mindless muzak made of droll novelties. However, the merging of ambient music and drum'n'bass also yields the eerie Natural Suction, dominated by ghostly keyboards. Alas, the spoken-word passages detract from the overall experience.

Luke Vibert's YosepH (Warp, 2003) is another massive disappointment. The tracks are barely sketched, as if Vibert was cooking pasta and playing videogames while arranging them. I Love Acid simply recycles old cliches.

Continuing the slide into simpler, brainless dance-music, Wagon Christ's Sorry i Make You Lush (Ninja Tune, 2004) is a little tedious compendium of Vibert's styles.

Luke Vibert's Kerrier District (Rephlex, 2004) proves that the eclectic musician is still looking for new sources of inspiration, but hardly proves that he has the talent to implement his visions. Like most of his previous albums, this one sounds mostly like low-quality dejavu.

Luke Vibert's Lover's Acid (Planet Mu, 2005) collects three Eps: 95-99 (2000), Homewerk (2002) and Lover's Acid (2005). in a sense, they highlight his best skills: crossing boundaries and pasting samples together. Funky Acid Stuff, Gwithian, Prick Tat, Lover's Acid Come On Chaos all try (with mixed results) to bridge hip-hop, jazz, acid house and drum-n-bass. But perhaps the more entertaining (and less derivative) moments are the two pieces that hark back to electronic dadaism: Homewerk and Analord. With the exception of closing Flyover, melody is notably absent.

Ace Of Clubs is Vibert's "acid-hop" alter-ego, born in 2002. Its first album was Benefist (2007).

Luke Vibert's Chicago Detroit Redruth (Planet Mu, 2007) sounds like a summary of his career, running the gamut from drum'n'bass to acid house to IDM to downtempo to jazz-rock, peaking with the visionary Breakbeat Metal Music.

Moog Acid (2007) was a collaboration with Jean-Jacques Perrey, and Rodulate (2008) a collaboration with Simmonds.

Vibert released under his own name: Rhythm (2008), We Hear You (2009), Ridmik (2014), Bizarster (2015), Valvable (2019), Grit (2022), and Machine Funk (2023).

Unitary Covert Sonic Procedures IV (2024) is a split EP with Posthuman.

Wagon Christ was resurrected for Toomorrow (2011) and Recepticon (2020).