CD Album Review: BON IVER - Bon Iver

It has been nearly three and a half eventful years, since the release of Justin Vernon€™s first album For Emma, Forever ago under the now famed stage name of Bon Iver. Although not an instant hit, the album gathered a huge following and before long Vernon had the likes of Kanye West calling. Always preceded by the legend of a heartbroken musician, alone in a cabin in the Wisconsin woods, spilling his sorrows into some elderly recording equipment. With his 2011 release Vernon has set his feet firmly in the recording studio, utilising its various techniques and many new instruments to the fullest. As a result he has created a new and exciting recording that still captures the eery tone and the captivating atmosphere that made the first record so spellbinding. Not only has he ventured into the studio he has brought his friends along for the ride, perhaps as an attempt to distance himself from the image of a lonely forest dweller. With his collaborators Vernon creates much more musically dense songs, using a broad pallet of instruments. Creating an atmosphere that is it hard to not be engulfed by, and led through the album is a daze of beautiful harmonies and melodies. The track titles, most of which are named after places, are as if Vernon has stepped out of his dusty cabin and is now taking in his surrounding. One of the highlights of this record is the masterful use of drums. From the moment they creep into the first track Perth, building with the song to culminating in a, well placed, double bass pedal driven delight. Holocene sees a rolling stare fill meander through the song, adding an intensity to the slow allure of the guitars. For an artist who barely used more than a scarce bass drum on his debut, Vernon uses drums to great effect. Doing away with the idea that drums are simply used to keep a beat, he has crafted his use of kits and symbols so that they become an instrument that actively contributes to the ambience of each track. This self titled album is certainly more sophisticated that its predecessor. Leaning away slightly from its folky roots and flirting with other genres; country, R&B and even 80€™s synths. Vernon shows that he is not afraid to venture into other, perhaps unexpected, regions of the musical landscape. Yet none of these arrangements feel out of place, it does not feel as though Vernon is trying to force something new. The very simple two piano chords of Wash don€™t feel too distance from the guitar. The distorted bass and wondering horns of Minnesota, WI don€™t feel out of place, the album still inhabits the same space as the first, just has a broader view. The only track that feels slightly out of place is the Genesis-esce closing track Beth / Rest which appears to be a homage to the days of 80€™s keys and gated stares, a brave choice to end with. As different as the tracks are musically they are all tied together with Vernon's soaring voice falsetto, leading the listener through the recordings. Although this time around he is not afraid to bring it down a few octaves, at the openings of Minnesota, WI and Hinnom, TX, Vernon shows us something closer to his speaking voice. Craft a haunting sound scape lead by Vernon€™s vocals. Lyrically the album lacks any sort of message and sometimes fails to make sense at all. But recognition isn€™t really the point of the lyrics as an artist Vernon allows the viewer to project their own meanings onto the songs. Though most of the words are incomprehensible, they can by charming at times; €œyou€™re in Milwaukee, off your feet€ for example, needs a mention, as well as €œI could see for mile, and miles, and miles€ which further adds to the idea that Bon Iver now exists within the world, not just a cabin. It appears that Bon Iver has successfully emerged from the cabin and entered, triumphantly into the world. Proving that he doesn€™t need to hibernate to produce a decent tune.