What does one hear when thinking of Wisconsin folk band Bon Iver? Probably frontman Justin Vernon’s frail falsetto voice crooning over warm guitar licks, or the gorgeous acoustic instrumentation of their biggest hit, “Holocene.” It is clear that they’ve already conquered the indie folk scene after just two albums. When approaching a third record, they could have chosen one of two routes: either play it safe and write more acoustic ballads for college kids to learn on guitar in their dorm rooms, or to be bold and evolve. Thankfully, Vernon chose the latter when crafting 22, A Million, Bon Iver’s newest project released on Sept. 30.
From the opening few seconds of the first song, “22 (OVER S∞∞N),” the band makes it clear that the listener should leave expectations at the door. The album from start to finish is a tour de force of pleasant surprises. Gone are the simple acoustic guitar chords and hand claps. Instead, Bon Iver opts for more electronic instrumentation.
Sampled voices accompany Vernon’s singing, but seem to threaten to cut out at any second. The songs are beautiful in their intentional glitchiness, and it continues to get even more memorable as sparse guitar chords make scattered appearances, leaving as quickly as they came. Ethereal saxophone parts tend to stand out, a welcome change from when they used to hide in the background in previous works.
22, A Million is also daring in its ugliness, but it is an ugliness that is strangely satisfying, like watching a sad movie. Huge distorted drums roar and contrast with Vernon’s trademark voice in songs like “10 d E A T h b R E a s T ⚄ ⚄” and “33 “GOD”.”
It immediately brings to mind Kanye West’s 2013 release Yeezus, and it is certainly no coincidence that Vernon appeared on that album in between Bon Iver releases. Perhaps the boldest moment of the record is the short two minute track “715 – CRΣΣKS.” With no instruments to support his voice, Vernon sings in spectral harmony with himself, creating an unsettling atmosphere that draws the listener into every word.
Bon Iver’s third record is an extended riddle waiting to be unraveled, and as Vernon sings on the sixth track: “It’s not for broader appeal.” Fans of classics like “Skinny Love” may be disappointed with the experimental direction Bon Iver takes, as straightforward songs about heartbreak are gone. Like the tracklist, the lyrics are cryptic. Upon first glance they are practically meaningless. 22, A Million, however, is a challenge to dig deeper. It begs the listener to explore its mysterious electronic sounds and to get lost in the words filled with religious themes and personal anecdotes.
It’s an album about solitude, love, heartbreak or whatever you want it to be about. It defies expectations, creates an undeniably unique and alluring soundscape,and delivers the best Bon Iver release yet. It is simply ahead of its time.
Key Tracks: “22 (OVER S∞∞N)”, “33 “GOD””, “29 #Strafford APTS”, “8 (circle)”