Tracks
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Justin Vernon has been through a celebrity storm since he made his debut as Bon Iver with 'For Emma, Forever Ago' in 2007. The narrative about the young Vernon, with a broken heart looking up in a remote cabin in the Wisconsin woods to record the album intimate guitar songs that seemed highly seductive in a surprisingly large listening audience and paved Bon Iver's path to the stars. Lumberjack shirt and beard were almost institutions in itself and part of the expectation of 'authenticity', fans have imposed Vernon, whether he likes it or not.
But nine years have passed since Vernon entrenched themselves with a guitar and left heart blood flow. In 2011 grew Bon Iver's sound considerably on the self-titled sequel to the debut album, and collaborations with Kanye West and James Blake has since presented us with a Vernon, who have acquired a taste for pop music, auto tune and synthesizer.
Bon Iver's third album is now finally a reality and '22, a Million' is a seminal work that marks Vernons definitive devotion to the synthesizer - without him in any way renouncing his deeply humanistic musical DNA.
The album sounds like an artist who is trying to get grounded again after being catapulted to the stars, but who have taken samples of the lunar soil, he found along the way home to Wisconsin.
In '22, a Million' meetings it robotificerede the human, the analog digital, the grandiose intimate. The Aphex Twin-like song titles like '22 (OVER S∞∞N) 'and' 8 (circle) 'affects one meeting with and perception of the album, but despite their immediately alienating effect of distancing the album itself certainly not from his listener. It points far into outer space, but also inward, where human feelings of loneliness, hope and longing circulates.
Here meet textural saxophone, heat guitars and heartfelt song with almost chipmunk-sounding vocal bits, dry electronic beats and various synthesizerlir in a way that does not really sound like anything else, but magically still sounds rather Bon Iver'sk. OP-1 synthesizer has been Vernons favorite instrument to write songs, and therefore may appear several of the new numbers as small musical sequences or moments that are pieced together from samples, rather than classically structured songs.
Nevertheless, the majority of the tracks trouble qualities, and because the tone is melancholy. '715 - CRΣΣKS' is akin to Bon Iver classic 'Woods', as Vernons autotune vocals here represent only instrument with great emotional power, while '666 ʇ' conjures up great beauty with a solitary circulating guitar riff and synthesizer remove beep.
'21 M ♢♢ N WATER' approaching the ambient with its floating synth bottom and blurred throng of manipulated, småforuroligende vocal samples, while '10 d EAT hb RE as T ⊠ ⊠' is perhaps the most aggressive and least search for beauty, we have heard from Bon Iver, with a thundering electronic beat and an army of chipmunk-choral parts in unexpected cahoots with saxophone.
'22, A Million' test courageously different territories, but still sounds completely integrated - futuristic and universal feeling intermediary at the same time. The authenticity redefined.
But nine years have passed since Vernon entrenched themselves with a guitar and left heart blood flow. In 2011 grew Bon Iver's sound considerably on the self-titled sequel to the debut album, and collaborations with Kanye West and James Blake has since presented us with a Vernon, who have acquired a taste for pop music, auto tune and synthesizer.
Bon Iver's third album is now finally a reality and '22, a Million' is a seminal work that marks Vernons definitive devotion to the synthesizer - without him in any way renouncing his deeply humanistic musical DNA.
The album sounds like an artist who is trying to get grounded again after being catapulted to the stars, but who have taken samples of the lunar soil, he found along the way home to Wisconsin.
In '22, a Million' meetings it robotificerede the human, the analog digital, the grandiose intimate. The Aphex Twin-like song titles like '22 (OVER S∞∞N) 'and' 8 (circle) 'affects one meeting with and perception of the album, but despite their immediately alienating effect of distancing the album itself certainly not from his listener. It points far into outer space, but also inward, where human feelings of loneliness, hope and longing circulates.
Here meet textural saxophone, heat guitars and heartfelt song with almost chipmunk-sounding vocal bits, dry electronic beats and various synthesizerlir in a way that does not really sound like anything else, but magically still sounds rather Bon Iver'sk. OP-1 synthesizer has been Vernons favorite instrument to write songs, and therefore may appear several of the new numbers as small musical sequences or moments that are pieced together from samples, rather than classically structured songs.
Nevertheless, the majority of the tracks trouble qualities, and because the tone is melancholy. '715 - CRΣΣKS' is akin to Bon Iver classic 'Woods', as Vernons autotune vocals here represent only instrument with great emotional power, while '666 ʇ' conjures up great beauty with a solitary circulating guitar riff and synthesizer remove beep.
'21 M ♢♢ N WATER' approaching the ambient with its floating synth bottom and blurred throng of manipulated, småforuroligende vocal samples, while '10 d EAT hb RE as T ⊠ ⊠' is perhaps the most aggressive and least search for beauty, we have heard from Bon Iver, with a thundering electronic beat and an army of chipmunk-choral parts in unexpected cahoots with saxophone.
'22, A Million' test courageously different territories, but still sounds completely integrated - futuristic and universal feeling intermediary at the same time. The authenticity redefined.