Bibio's latest release Phantom Fireworks (2017) is a huge mood for the coming winter doldrums. Sometimes a plucky, perky producer of electronic soundscapes, the artist dives to darker hues and looser textures to create music that manifests a ghost at arm's length.
What's always striking about Bibio (née Stephen Wilkinson) are his dead-on music videos. Invested in building worlds around his music, Wilkinson designs his own album artwork and directs his own videos, pairing sounds with scenes a decade before Beyoncé's "groundbreaking" visual album (yes, whoa, I know). I've loved them so much that I projected his video from his song "À tout à l'heure" (2013) when I covered it with a college percussion group (see, albeit embarrassingly, here. Yes, that's me playing a watering can and hedge clippers).
The recent vid for "CAPEL CELYN" (here) capitalizes off the song's lost guitars, heavy echos, and cyclical synths that end up falling apart only to thread back together. Slowed scenes of (if we are to believe a comment on the video) the long abandoned Old Iron Works in Mells, UK, force us to linger on a path, near a gate, off a cliff, underwater, or over a grave. The header image -- not unlike Paul Klee's Fire in the Evening (1929) (see this) -- is the only scene to offer the presence of someone else: a desire to feel found in an otherwise abandoned, lonely space.