Bayohbahb is the second full-length effort from Durham electronic-folk outfit Baobab, and it’s one that solidifies songwriter Phil Torres’ strong standing in North Carolina’s music scene. Since the release of the band’s first album, Baobab, Torres has been a busy man. He assisted in the production of Bombadil’s latest album, Metrics of Affection, and saw the release of his first book A Crisis in Faith: Atheism, Emerging Technologies and the Future of Humanity. But throughout an eventful year, Torres has clearly been fleshing out the lavish ideas that were found on that first release. The result is an album that is far more dynamic and engaging. Bayohbahb is filled with overwhelming amounts of depth, character and individuality.
The album immediately draws the listener in with the entrancing loops and punchy piano riffs found on “Oceanus Procellarum,” before the song quickly transitions into a glitchy electronic beat that oozes of African influence and fits snugly under the delicate croon of Torres. Layers upon layers of smooth classical guitars, electronic whirs and syncopated rhythms blend perfectly with the laid-back melodies found within Baobab’s music.
Comparisons to Paul Simon come often, and it’s not hard to see the similarities. Torres’ songs are expansive and vivacious, but maintain a lyrical level of excellence that allows the listener to connect to simple phrases or ideas that could easily get lost in the mix.
Powerful imagery drives all of these diverse tracks, as descriptions of walks by the riverside and conversations with dear old friends line the album with a tinge of nostalgia. Bayohbahb will take you on an aural adventure, careening through electronic and acoustic soundscapes that combine the lush worlds of wonder and complexity of electronic music with the simplicity of acoustic driven folk tunes.
This article appears in Mar 20-26, 2013.
