SummarySeamlessly amalgamating nature and electronics, Vignetting The Compost, the third full-length release from Bibio, channels instruments and vocals from a bygone era through a futuristic digital portal. History may credit Edison with the phonograph but, in truth, the first such device mysteriously washed up on the shores of England in 1876... playing Bibio. Vignetting The Compost is at once timeless and innovative; 60s-esque folk guitar and mechanic manipulations of sounds whose instruments of origin are less important than the feelings they evoke, layer upon each other with ease and intricacy. Just when you expect to hear Nico's moan escaping your stereo, Bibio himself comes through with a voice that could have sung next to her on "These Days." Truly, this is an album for the ages.
Producer Stephen Wilkinson is a self-taught musician from an area in central England often referred to as the Black Country. His love for sound and noise led him to the University of London and the study of Sonic Arts where he discovered experimental electronic acts such as Aphex Twin, Autechre, and most importantly Boards Of Canada. His own musical identity was christened Bibio, in honor of a fly his father had insisted on using during the fishing trips to Wales that were so influential in establishing his love of the sounds of nature. Focusing on location recording using cassettes, a half-broken sampler, dictaphones, and experimental ways of affecting sounds, Bibio has crafted a unequalled style that is as subtle as it is powerful.