Bon Iver Bon Iver, Bon Iver |
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 | Tracklist:
1. Perth
2. Minnesota, WI
3. Holocene
4. Towers
5. Michicant
6. Hinnom, TX
7. Wash.
8. Calgary
9. Lisbon, OH
10. Beth/Rest
| Ranking: #69 for 2011 | |
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On 452 Lists
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| Summary: It’s not a problem that Vernon hasn't created music in the same style of the last successful album: the problem is that he isn’t able to make that creative jump to a new aesthetic, or direction, successfully at all. |
“Beth/Rest” fades to its end with its dorky 80s piano and just-so-beachy electric guitar leads, and we're left in awe. Incredibly perplexing awe: Who the hell is Justin Vernon, we wonder at this point, And what the hell is he thinking? Some of you may be tinged with a bit of that unfair expectations bug – just like everyone around us is, basically. Because let’s face it: Justin Vernon will forever be in Emma’s shadow, no matter what he releases in the future. But this confusion we have is beyond just unmet expectations for Bon Iver, Bon Iver, if you examine it closely. In fact, it goes beyond mere disappointment even. It’s got something Tomboy-and-The King of Limbs-y about it, the feeling, something we were afraid we might hear and have to face once again this year with flag-bearing indie bands and artists. Bon Iver, Bon Iver could have been released by any other artist, and the unsettling, upsetting feeling would still be the same - the sonic differences of past albums For Emma, Forever Ago, In Rainbows, or Person Pitch aside: the fucking album isn’t saying anything.
Bon Iver, Bon Iver is just too vague. And the answer to why this has happened, or at least in part, can be found in Vernon’s own words leading up to this album’s release: ”I brought in a lot of people to change my voice,” he told Rolling Stone back in March. “I built the record myself, but I allowed those people to come in and change the scene.” The part where he says that he “allowed those people to come in and change the scene” should scare the hell out of you if you are a fan of Vernon, but it should also puzzle you if you happen to know next to nothing about the songwriter as well: quite frankly, why would anyone mask their creative identity to the point where the work underneath is changed, masked? It doesn’t make sense. And Bon Iver, Bon Iver, in the end, just doesn’t add up to something positive and wholly moving because of it, both in its instrumental and lyrical aspects.
Vernon and his crew go about painting ambiguous pictures of places in the U.S. such as Ohio and Wisconsin throughout Bon Iver, Bon Iver over warming vocal melodies; but there’s just not much to truly connect with, much less last you as a listener in the long run. Even the strongest song on display, “Holocene”, narrows down to being just a pretty yet incomplete lyrical statement, cloudy reveries and a declarative vision voiced without motivation: “And at once I knew I was not magnificent / High above the highway aisle / Jagged vacance, thick with ice / I could see for miles, miles, miles,” Vernon swoons in the chorus. It's pretty imagery, sure, but it doesn't come together in any specific way, and it really doesn't even hint at an intended one either. The song is partly redeemed by its downplayed instrumental element that doesn’t get in the way of Vernon, however; drummer S. Carey achieves the perfect role of the subtle, complimentary player here, leaving Vernon in the position to best deliver with his vocals and guitar playing without being flooded by the rest of the often-cluttered band.
The only problem is that Vernon doesn’t deliver on “Holocene” when he truly could have, and he’s not really given much of a chance elsewhere with the overbearing feel during the rest of the crowded album. “Minnesota, WI” and the absolutely horrible aforementioned closer, “Beth/Rest”, are the main examples of this, the prior instrumentally drowning Vernon’s tale of obscured fortitude and, once again, puzzling imagery that's more meaningful to the artist, rather those listening in attention. The saxophone of Colin Stetson is a nice thought, though, but its implementation just adds more to the problem instead of expanding the song in a natural way. After a distant memory of Vernon's childhood in “Michicant”, Bon Iver lose themselves, and the rest of us, again, in “Hinnom, TX” with its echoing, ghostly vocal effects and a transparent and pointless use of reverb and ambiance. In this tribute to Texas, Vernon puzzles about and baffles along with mysterious and incomplete statements: “Sand it starts to steal / Dirt and ice imbed in cheeks in the potter’s field / Solar peace / Well it swirls and sweeps / You just set it.” What the hell is that supposed to mean, exactly?
You may be tempted to give Bon Iver, Bon Iver too much of a chance, as odd as that may sound. It’s a pretty-sounding album initially, after all, and the ambiguity of Vernon’s lyrics suggests that there’s something deeper hiding in its confines, something that must be found with listen after listen. Indeed, it has already been deemed a ‘grower’ by many the very second that they realized that there is no “The Wolves (Acts 1 and 2)” or “Skinny Love” to be found here – that is, anthems to connect to and to return to for listeners. But hear and examine over and over again, if you will, that Vernon is not really saying anything at all on Bon Iver, Bon Iver, no matter how much you wish he was. And even if he were, this “change the scene” business has left his intent obscured and pushed to the side under the weight of the pointless and distracting instrumental accompaniment of those around him. Like Radiohead and Panda Bear before Bon Iver this year, it’s not a problem that Vernon hasn't created music in the same style of the last successful album: the problem is that he isn’t able to make that creative jump to a new aesthetic, or direction, successfully at all. His voice is lost, and he’s trying to write about things that only he can connect to, all the while leaving us baffled, confused, and just as lost as he sounds on the record to our ears.
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| Recent reviews by this author | | | |
Album Rating: 4.5
wut
Digging: Krizz Kaliko - Kickin' and Screamin' | | |
ur not supposed to review things b4 they are released
Digging: Bjork - Vespertine
| | | Album Rating: 4.5
isn't it "Holocene"?
Digging: Patrick Watson - Adventures in Your Own Backyard Digging: Patrick Watson - Adventures in Your Own Backyard | | | Album Rating: 5 | Sound Off
Nice writeup, I can kinda see where you're coming from
seems much less personal than For Emma to me which is the only thing that's sorta disappointing
| | | Album Rating: 4.5 | Sound Off
interesting
Digging: - Digging: - | | | Album Rating: 5 | Sound Off
Album's not out 'till the end of June. =O
| | | Album Rating: 4.5
it definitely sounds a lot happier and less depressing than for emma
| | | Album Rating: 5 | Sound Off
Album's not out 'till the end of June. =O
There's already been a review up from Cam for a while
you convinced me that the lyrics are vague
that's about it
reading is hard
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Damn, Jared, 2/5. I haven't listened to this yet, but I'm hoping I enjoy it given how much I liked For Emma, Forever Ago. Excellent writing as per usual.
Digging: Between the Buried and Me - Colors
| | | Album Rating: 4
So wrong but I can't say I'm surprised you feel this way.
Digging: Animal Collective - Honeycomb/Gotham | | | Album Rating: 2 | Sound Off
Thank you, toolpeth.
This album is a lot different than For Emma, Matt, but I think you will enjoy it. I just don't, but thanks.
Digging: Andrew Bird - Break It Yourself Digging: Andrew Bird - Break It Yourself | | | Album Rating: 4
Interesting review, I obviously disagree, but I can see how you can feel that way. Great job in
getting your point across effectively and with a good flow to make it readable, I usually have
troubles with that.
Digging: fun. - Aim and Ignite | | | Album Rating: 3.5 | Sound Off
It’s got something Tomboy-and-The King of Limbs-y about it, the feeling, something we were
afraid we might hear and have to face once again this year with flag-bearing indie bands and artists.
but by this logic and your recommended albums, i should think its a 4.5, right?
Digging: Mount Eerie - Clear Moon Digging: Mount Eerie - Clear Moon | | | Album Rating: 3.5
I've already lowered my rating on this album and I'm trying really hard not to. I thought this would be a grower but I'm actually finding it more and more boring.
| | | Album Rating: 2 | Sound Off
but by this logic and your recommended albums, i should think its a 4.5, right?
For many, 4-4.5.
But I hated both for being unclear, messy, and ambiguous. Even though they sound nothing alike, Bon Iver has done much the same here as those two did earlier this year.
| | | Album Rating: 3.5
I never saw For Emma as ambiguous but this seriously is.
| | | Album Rating: 2 | Sound Off
For Emma certainly isn't ambiguous.
What I'm saying is that, for me, I found a parallel between Radiohead, Panda Bear, and Bon Iver with their 2011 albums: they all three were following highly acclaimed releases - In Rainbows, For Emma, and Person Pitch - and they all tried to do something different than what worked before. I wasn't saying I was upset that he was trying new things, hence the summary, but that he wasn't successful, as I found the other two to fail as well.
| | | Album Rating: 3.5 | Sound Off
anyway i agree with you on some points but once again youre playing this "new sound grumpy harumph" card when it need not be played. as in your tomboy review, you're hyper conscious of saying its not the change in sound but that it just doesnt sound right, but the third time around, after tomboy and king of limbs, its kind of starting to wear thin a bit
| | | Album Rating: 4
C'mon, this isn't that different from For Emma.
Digging: Bon Appetite - For Emeril, Forever Ago Digging: Bon Appetite - For Emeril, Forever Ago | | | Album Rating: 3.5 | Sound Off
bon iver, bon iver ago
Digging: The Dopamines - Vices Digging: The Dopamines - Vices | | | |
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