Bon Iver’s third and newest album, 22, A Million, dropped Sept. 30, and it is extraordinary to say the least.
Looking at the band’s first album For Emma, Forever in 2007, to this entirely different piece of music, it is evident that vocalist Justin Vernon is making waves within the music industry.
When the first album was released it gradually rose in popularity, earning gold certification. With such a strong following, many fans are expecting the same whimsical and mellow style, but that is definitely not what he is creating this time.
One of my favourite songs on this album would be “715 – CRΣΣKS.” Lyrically the song is extremely poetic, baring Vernon’s struggle with losing someone’s affections. At first listen the strange tune is bewildering and hard to comprehend. I had to listen twice to really hear past the surreal instrumentals and hear his voice seep through, but once I did, I enjoyed the song much more.
I also really enjoyed the song “8 (circle),” which used a small orchestra of brass instruments that brought back the soothing nature of past albums. Again, lyrically this song is interesting, brimming with the symbolism of loneliness and despair.
The theme of this album is love for an individual and god, followed by a loss of faith. In this, he creates a surreal set of songs that skirt a fine line between something alien in music, and something humanly emotional.
During my first listen, I was bothered by the pitch intensity in songs like “___45___,” but after giving it another listen, I give Vernon praise for this album. The song names are a story all in themselves with such intricate pieces of him woven into them. They don’t necessarily relate to the song, but to when he wrote it. For example, “715 – CRΣΣKS” uses 715 to identify the area code in Wisconsin where the song was written.
This album is definitely not for everyone. It has a mechanical feel that can be off-putting to listen to. But I would compare this album to modern art, displeasing at first glance, but after taking the time to analyze the story behind the piece, it suddenly becomes beautiful in its eccentricity.
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The album artwork is also different than the first two, which pictured calm natural landscapes. The visual black and white depiction of religious symbols, the yin yang, animals, and a plethora of other drawn images gives it an almost eerie and confused feeling.
What I really enjoy about this album is there is something really interesting in every single layer, from the combination of music, the poetic lyrics, the song titles, and even the artwork. I wouldn’t recommend this album to listen to in passing, but to really pick apart and analyze.
The singer’s original soothing, exposed voice peeks through this interesting union of pure vocal and machine instrumentals. Although the music is original and strays away from the indie genre by really establishing its own form of music, I do miss the Bon Iver from the first two albums. But I have developed a whole new respect for Vernon on this new musical adventure.
