More like this – Bibio’s Green EP, Goldfrapp’s “Clowns“
I love a good electronic+folk mixture, and this is one of those precious examples of where it works in album form. Silver Wilkinson is an ideal spring-time album due to this, recalling fresh morning air, vegetation, grassy fields and other pleasant outdoor imagery very nicely. Bibio decorates the songs with a spacious reverb and emphasizes the most organic possible sounds. Nature FX, grainy sound quality and other details add to the effect. Like a lot of my favorite guitarists, he makes regular use of effects and layering to expand the instrument’s range. Some songs will come close, but it’s far from your usual twangy ‘chill-out guitar’ mush.
Several critics and fans deemed Silver Wilkinson unfocused with the way it shifts in sound at semi-random points. I do agree the flow could be better, but I felt it’s this variety that helps it work as an album. For instance, I like how it begins with these reflective guitar-based pieces, but if every song was like this, it could get stale. His understated knack for synths helps keep it interesting at very least, as in “Business Park” with it’s jagged techno drama or “Look At Orion”’s odd vortex of reverb and sampled voices. At some points he also blends the synths + guitars in a more subtle fashion, like “Dye The Water Green”’s instrumental fade-out.
As much as this album escalates, few songs lack that refreshing springy mood Bibio does best. With “Mirroring All”, I can almost feel that misty outdoor air through mere listening. I could say the same of Bibio’s own favorite “Dye The Water Green”, a haunting melody contrasted with some luxurious guitar shimmers. With the single “Curls” sounding a lot closer to this than his recent ambient/drone work, I have a good feeling about the incoming Ribbons album.
Part of a new series where I look back at the formative songs that made me obsessed with music in the first place. The next entries will have a more chronological order.
My first memory of Yeah Yeah Yeahs is when I saw the iconic video for “Zero”, voted by Spin and NME as song of the year. It was a fresh, exciting, neon-lit burst of energy; the tempo and lyrics imploring to ‘climb, climb, climb’. The contrast of mellow cool with exhilarating heights was key to the appeal of the It’s Blitz! album itself. It’s been close to a decade since I overheard my older siblings play the CD, yet somehow it’s just as great as I remember hearing it again now.
It’s Blitz! is an album of twin strengths; an ideal blend of a punk/rock base with electronic flourishes. Uproarious synth-rock fusions take turns with rich, idyllic ballads. Each of the ten songs have their twists, adding up to one of the most well-rounded albums I know. “Soft Shock” shows this duality best in both its music and title: electric but therapeutic, it’s a lullaby with a groove; while “Runaway” is an ambitious pseudo-gothic ballad going from soft, lonely piano to a thundering string peak. Some uptempo songs even invert this pattern, like “Heads Will Roll” with its murky ‘Shut your eyes / you realize’ interlude or “Dull Life”’s haunting guitar shifting into a bold and determined chorus.
Every member added something distinct; Karen O balanced grit with tenderness more seamlessly than ever, Nick Zinner blended his guitar fuzz with a host of sleek, icy synths and Brian’s drumming added thrilling momentum. The synths brought fresh twists to their sound and helped build on the balladry “Maps” did so well.
Something about It’s Blitz! sounds all this time later, even if it makes such a great time capsule. Maybe it’s the less obvious execution of the electro-pop influence: while I can enjoy most forms of this, including the kind synthwave that lives and breathes flashy eighties kitsch, It’s Blitz! doesn’t sound that ‘eighties’ to me in the end. I don’t know if it’s the critics overstating on the mere fact they dared to include synths (as expected for critics of the time + guitar snobs in general) or the sheer personality of the album.
Ten years on I’ve realized how much It’s Blitz! influenced my taste: the love of synths, fierce rhythms, genuine attitude, mixing beauty with distortion. While their debut remains incredible, it sometimes overshadows the accomplishment of their third album. With today being its tenth anniversary, It’s Blitz! is overdue for celebration.