Album Review: Bon Iver - Bon Iver

UK Release: 21/06/11 - Jagjaguwar, 4AD

Courtesy of starbright31, Bon Iver

The subtle opening of the soothing wind and peacefully clanging chimes prepare us for the most intriguing entrance into an album. The majestic guitar arrangement is soon layered with haunting backing vocals, a procession snare and an overpowering multi-layered vocal.

‘Perth’s’ sudden crashing of ‘still alive who you love’ instantly provides the moment when you feel like you could go whilst listening to something so beautiful. You can hear the passionately paining vocals from Justin Vernon’s whimpers before the fierce staccato slams and brass cries out. A rare ‘Skinny Love’ moment occurs as the strongest album track stamps Bon Iver’s mark on the world.

The natural flow into ‘Minnesota, WI’ brings you back to reality, however alternate is still may seem. The echoed bassy words of Vernon are linked wonderfully with the desolate yet dominating guitar plucks before his unnerving falsetto tells us he is ‘never gonna break’. The short harmonious combination creates a surreal eeriness, balanced perfectly with the busyness of the background.

‘Holocene’ begins with such a simple riff; you would not expect to feel shivers repeatedly upon the entrance of the vocals, shakers and clapping. When Vernon can ‘see for miles, miles, miles’ you can’t seem to help but become encapsulated in a world of cheerful bliss. 

The snare increases in tempo, producing a gradual rush where you feel you have been running an impossible marathon and the more you believe, you know, without a doubt, you will finish. But wait. You hit a wall. You continue to see how far is long to go. You realise you are not ‘magnificent’, but you don’t give up. You never give up. Despite still not being able to see for ‘miles’, you know the journey has been worthwhile, regardless of the outcome.

The pleasant ‘Towers’ is effortlessly brilliant. The breathy vocal after verses releases a chill of ‘everything’s ok’. With a relative consistence in the song, a slow build-up runs through without hitting a climax which is strangely satisfying.

Courtesy of starbright31, Bon Iver

Sufjan Stevens’ ‘Futile Devices’ is heard from the opening guitar of ‘Michicant’ and likewise, something special was about to follow. ‘Hurdle all the waitings up, know it wasn’t wedded love’ provides a dreamy state of contentment. The wait halfway is almost unbearable. The almost empty yet heavily textured closing of strings, trumpet and drum effects fade out to sleepy effect.

Echoed synths swallow Justin’s, now trademark use, of contradicting pitched vocals in ‘Hinnom, TX’. The higher pitched vocals are balanced perfectly and, although so nearly heard within, are never in danger of reaching over into the annoyance of Scissor Sisters (never thought I’d compare to them!)

The repeated two-chord piano provides the stem for ‘Wash.’, as the daunting strings roam free.

The 80s synth opening in ‘Calgary’ felt easy, and, although the latter climax was welcomed, the rest failed to enlighten.

Expectations for a spectacularly mind-blowing finale were wrong to have. Although often heralded as a key part to the album’s completion, there was disappointment when ‘Lisbon, OH’ led into a bleak and mundane ‘Beth/Rest’.

Despite its ending, Bon Iver was by far one of the stand-out albums of its year, and Justin Vernon deserves all the praise he is receiving, whether or not he thinks he appreciates it through Grammys or not. Perhaps more listens are needed to appreciate the true beauty of Bon Iver, however, the perfect album is still yet to come.

Rating: 9/10

Below is Bon Iver's awe-inspiring performance of 'Perth' on Later with Jools Holland: