As the artwork (painted by Gregory Euclide) would imply, Bon Iver picks up right where For Emma, Forever Ago left, just as spring follows winter. Expectations are high for Justin Vernon (performing under the name Bon Iver, French for “good winter”) on this self-titled sophomore release. Surely, it would be tough to live up the circumstances that surrounded the recording of Bon Iver’s 2008 debut, For Emma, Forever Ago (recorded nearly entirely by Vernon in a hunting cabin in Wisconsin in the dead of winter, following the break-up of a band and a girlfriend in North Carolina). For Emma this is not; those looking for a repeat of the previous album may be in for a shock, as differences abound. Hopefully, like me, you’ll find a change isn’t always bad.
Sounds Like:
It’s spring, the snow has melted, Justin Vernon (Bon Iver) has stepped out of his isolated cabin and recruited some pros to record a bigger, less dreary album
An overtly electric guitar (already a huge break from For Emma) breaks the silence on “Perth,” the album’s opener, greeted by the rat-a-tat-tat of a distant snare, reminiscent of a Revolutionary War drum (another new development), eventually giving way to Vernon’s familiar falsetto vocals. The song picks up steam, ebbing and flowing, as it barrels along, introducing more and more instruments, building to an apex driven by distorted power chords, double bass kick drums, and horns. Although the sound differs greatly from the previous album, the broader instrumentation blends together well, all carried along by the driving beat. The fervor dies to a lone picked guitar on “Minnesota, WI,” a song featuring a variety of instruments, including guitars (electric, acoustic, pedal steel), banjo, keys, saxophones, and strings. Even more surprising are Vernon’s non-falsetto vocals. Vernon’s initial booming baritone is a stark cry from For Emma, in which non-falsetto vocals were few and far between. Purists need not fear, as Vernon does return to his trademark falsetto throughout the song (and most of the album).
Key Tracks:
Perth, Holocene, Hinnom, TX, Wash., Calgary, Beth/Rest
Despite the initial and somewhat jarring differences between Bon Iver and For Emma, there are some common threads. Songs such as “Holocene,” “Michicant” and “Wash.” are the most comparable to For Emma, as these songs sound more bare-bones (compared to other songs from this album) and focused at the same time. Aside from the musical differences, Bon Iver captures much of the same vibe as the previous album, in that each song comes across as finely tuned and having a significant role in the album as a whole. This is exemplified by the last three tracks of the album, which flow together seamlessly.
Best Lyric:
“…and at once I knew I was not magnificent” - “Holocene”
In addition to the broader instrumentation found on Bon Iver and increased production (recorded with seasoned musicians over an old pool in a converted veterinarian clinic), Vernon’s vocals sound more layered than the previous album. The biggest surprise for me was the organ-sounding keys (Korg M1 per the liner notes) on “Calgary” and “Beth/Rest.” The initial sound brought me flashbacks to hearing my mom’s Bruce Hornsby albums back in the day. Another departure from For Emma, this development, like the rest of the album, fits neatly into the song. Despite the increased instrumentation, no single instrument steals the show, as everything blends together to create the perfect sound to match Vernon’s vocals. Lyrically, Bon Iver exhibits much of the same style present in For Emma (not entirely focused on a distinctive story, per se), yet significantly lighter in tone. Where loss was a central theme on the last album, Bon Iver is about growth and the good, the bad, and the ugly that comes with it.
Music video for “Calgary”
Bon Iver in many ways is a clear departure from the last album, though there are numerous subtle similarities. Vernon’s vocals and meticulous songwriting are as strong and often unorthodox as ever, resulting in an album that can be just as enthralling and endearing as For Emma. The additional instruments also allow Vernon to create some unique and intimate moments, such as the ring of a bicycle bell on “Michicant” while recalling childhood memories. Overall, Bon Iver is no less sincere than For Emma, and like the Fleet Foxes in a previous review, successfully overcame the dreaded sophomore slump. Bon Iver is a strong album, and certainly sets the bar higher again for Vernon on the next go round.
Overall Rating:
