Bibio’s
2009 record Ambivalence Avenue is a
great blending of electronic and folk elements. Bibio takes a surprising number
of influences and blends them into a uniquely listenable experience. He is
comfortable in multiple genres. He gently sings and strums, he creates ethereal
sound collages, he uses naturalistic ambient samples, and he recreates the slinky
funk of Sly and the Family Stone to be the rhythmic bed of a song. The
impressive feat is that Ambivalence
Avenue is comprehensive as a whole while containing a variety of styles, yet
does not come off as scattered or rambling. The acoustic tracks feel warm,
positive, and summery, and the electronic tracks are cool, groovy, and
sonically searching. Ambivalence Avenue
is a record that alternates between acoustic singer-songwriter type tracks and
more dance-influenced instrumentals. The instrumentals focus on textural
variations and explorations, while the singer-songwriter songs focus on
universal human themes.
The
song "Ambivalence
Avenue" opens the record. It is a loping happy song
describing an idealistic avenue with white hotels, trees, and an amber colored
sun. “Watching ourselves as if seeing our future” - we are not exactly sure who
is with the singer, but they are greeted by strangers who seem to be friends. Then
they were escorted thru a Red Door Bibio goes on to say, but that is where his
daydream ends. A quick look into the symbolism of a red door will tell us that
it means welcome in the Eastern philosophy of Feng Shui, in early American
culture, or means protection in Biblical times. It seems very in line with the
theme of welcoming friends. The music is joyous and comforting, with melodies
answering sung verses. After Bibio sings of his daydream ending the song plays on
instrumentally for a minute or so.
"Jealous of the
Roses" has a Sly and the Family Stone groove to it, but
speaks of a melancholy soul, who is, as the title says, “Jealous of the Roses”
and believes in specific times and places for happiness. The R&B groove
contrasts with pensive lyrics which also contrast thematically with the first
song. The first song talks of welcoming and friendship in a wishful daydream
state. The second song speaks to jealousy, unhappiness, and to love as
conformity. The second song uses the pronoun “you” so it seems clear that Bibio
is speaking to someone else and that these views are not his own. This song is
a great example of Bibio’s subtlety. The feel of the song pulling in a slightly
different direction than the lyrical content. "All the Flowers" is an
acoustic song with guitars and vocals. The song uses a flower as a symbol of
being present in the current moment, and not caught up in the past or future.
This can be taken as a statement on “mindfulness” that seems to be sweeping our
culture currently but it may also reflect an underlying Eastern philosophy in
Bibio when taken into consideration with the Red Door in track one.
"Fire Ant"
is a sonic mish-mash of samples and sounds intricately woven into a
groove. It begins using an ambient sample of children playing with music heard
faintly in the background. A rhythmic foundation is introduced and different
sounds are interjected above the groove. His choices of sounds truly are
abstract and random. It is using repetition as a tool of development that we as
listeners begin to be comfortable with these sounds as part of Bibio’s musical
language. It sounds as if different vowel sounds such as "e," "a,"
and the words "ahh," "la," and "ga," have been sampled,
treated with vibrato effects and made to duel each other. Eventually the groove
cuts out and it is replaced with a single line, reverb-drenched synth plucking
haphazardly along.
"Haikuesque (When She
Laughs)" is an introspective song made up of a string of
haikus. Some of the haikus are naturalistic, some of them are observational,
and some of them repeated. The haiku that the title refers to goes: When she laughs/ The piano in the hall/ Plays a
quiet note, comparing a woman’s laughter to music in an indirect, but
poetic way. Another favorite of mine is Rocking
chair/Is still without a rocker/But is still a chair. It has a sense
of questioning: why is the chair still, because nobody is rocking it, no
entity, or is it referring to the bottom arch that allows the chair to rock?
The questioning, the duality, and the searching are all aspects that appear in
multiple places throughout the record. The music for this song is more acoustic
than electronic providing a gentle bed for the lyrics.
The
next track "Sugarette"
is a contrasting chugging, electronic piece with cut up vocals buried
far in the mix. The texture consists of bubbling and gurgling mechanical beeps
and bloops. It seems to be a sonic palette cleanser from the acoustic song that
preceded it. The name seems to be a reference to this, but the question of how
it functions within the diorama of Ambivalence
Avenue must be guessed at since the meaning of the lyrics are so buried and
disguised. How is it intended to function? My theory is that Bibio expresses
emotional connection with lyrics and naturalistic sounds, and lets the
programmed songs represent a more removed and less emotional space. These
spaces are more about energy and movement, and less about some of the emotions
that are involved in the songs with lyrics.
"Lovers’ Carvings"
is an acoustic, lyrical track with a two-minute instrumental introduction.
The content of the lyrics points to the enduring nature of love. The carvings
may fade like a set of initials carved in a bench or a tree, but always remain
and can be found to exist many years later. The music starts out with a guitar
developing a theme in a solo context and after a bit a percussive cowbell sets
a slightly faster tempo and the song is fleshed out with a rhythm section and
vocals. This track has such a great feel to it, and just adds layers and builds
up until the end. The concept is simple but the execution is impressive. "The Palm of Your Wave"
is a melancholy last look back. Bibio uses the iconic imagery of waiting
for a train in cold weather. How many movies has this played out in? A last
wave from a cold train station. And the
last thing I save is the palm oh you wave/ Oh, This moment please be forever. It
seems to be an idealistic way to remember or reach out to a memory or a loved
one. The music once again is a just a guitar and a voice.
"Cry! Baby!"
and "Dwrcan" are both instrumental songs with masterful
production. They both further point to an aspect of duality within the record -
Bibio can be a producer and programmer, and also a singer-songwriter who tackles
complex emotional themes. Why the duality in sounds? What does each represent?
If separated perhaps two separate albums could be made, one of acoustic songs
with lyrics, and one of programmed beats. Two songs might overlap, but instead
of making two records Bibio has chosen to combine all the tracks on Ambivalence Avenue.
I
originally started listening to this record because of the electronic tracks. I
have to admit that after many repeated listens the lyrics have won me over and
I now enjoy the introspective acoustic tracks more than the instrumentals. They
have a wistfulness to them, almost like an old black and white film.
Daydreaming of welcoming friends, jealousy, laughter, timeless love, and longingly
looking to the past, these songs examine some universal themes. If you’re not
already a fan I’d love to turn you on to Bibio’s Ambivalence Avenue.
-
Doug Anderson
No comments:
Post a Comment