Bon Iver - Holocene (29/06/2011)
Justin Vernon’s first release under the Bon Iver moniker, 2008’s For Emma, Forever Ago, had a secluded, claustrophobic atmosphere to it. It comprised the kind of music best experienced through headphones, in your bedroom with the lights off, rather than blasting out of an arena P.A. system. Recorded in an isolated cabin in the desolate woods of North Carolina, For Emma relayed the enigmatic human experience of heartbreak to every hipster with their finger on the Pitchfork pulse with astonishing potency.
Following the release of For Emma, in light of the subsequent critical and commercial success, Vernon became as much of a rock star as an indie folk artist could possibly become in two years. He collaborated with ego-maniac Kanye West – who was seemingly Vernon’s polar opposite – and partook in photo shoots for the likes of Rolling Stone and Spin. The juxtaposition between the Vernon we knew from his musical accounts of inner turmoil, and the Vernon we knew from the pages of NME and trending topics on the blogosphere was becoming comically large. Naturally, given the change in Vernon’s image, his follow-up effort was bound to be a considerable departure from its predecessor. Indeed, to reproduce For Emma would in some ways undermine its authenticity. It was the direction in which Vernon would diverge from his honest, intimate debut that remained the mystery.
Thankfully, Vernon remains painstakingly honest on his eponymous second album. Holocene is some of his most personal lyrical work to date – and to argue that the music on this record isn’t intimate would be a gross misrepresentation. Instead of reinventing himself, the Wisconsin songwriter tweaks his already proven formula, expanding his sonic palette by exploring soundscapes far beyond those delved into on his debut. The chugging guitars and pounding drums of Perth would have stuck out like a sore thumb amongst tracks like Skinny Love and Flume, but the piece works perfectly as the opener to a far more adventurous experiment.
Each track on the album is named after a certain place that has inspired Justin in some way (as well as some imaginary towns, including the very real-sounding Hinnom, TX). A vast geographical area is covered, with song titles ranging from Perth to Minnesota. Though none of the tracks convey any real connection with the place they represent to the listener, Vernon’s resolute passion and inspiration is evident with every lyric. However, despite these exterior altercations, the genuine beauty of Justin’s music can be found in the same places as it was found on For Emma, Forever Ago: the fingerpicked guitar of Holocene, and the evident pain in Vernon’s voice on Michicant are the most memorable moments, and wouldn’t have felt out of place on Bon Iver’s debut if it weren’t for the addition of several more layers of instrumentation.
At its best, For Emma, Forever Ago conveyed the emotions of an inordinately distraught individual to the listener with unprecedented sincerity. Bon Iver achieves much the same outcome, but does so in a somewhat more engaging manner. “I was not magnificent”, Vernon reflects on Holocene: No, Justin. You Weren’t. But to label you as anything else now would be selling you incredibly short.
Andy Chalmers
Following the release of For Emma, in light of the subsequent critical and commercial success, Vernon became as much of a rock star as an indie folk artist could possibly become in two years. He collaborated with ego-maniac Kanye West – who was seemingly Vernon’s polar opposite – and partook in photo shoots for the likes of Rolling Stone and Spin. The juxtaposition between the Vernon we knew from his musical accounts of inner turmoil, and the Vernon we knew from the pages of NME and trending topics on the blogosphere was becoming comically large. Naturally, given the change in Vernon’s image, his follow-up effort was bound to be a considerable departure from its predecessor. Indeed, to reproduce For Emma would in some ways undermine its authenticity. It was the direction in which Vernon would diverge from his honest, intimate debut that remained the mystery.
Thankfully, Vernon remains painstakingly honest on his eponymous second album. Holocene is some of his most personal lyrical work to date – and to argue that the music on this record isn’t intimate would be a gross misrepresentation. Instead of reinventing himself, the Wisconsin songwriter tweaks his already proven formula, expanding his sonic palette by exploring soundscapes far beyond those delved into on his debut. The chugging guitars and pounding drums of Perth would have stuck out like a sore thumb amongst tracks like Skinny Love and Flume, but the piece works perfectly as the opener to a far more adventurous experiment.
Each track on the album is named after a certain place that has inspired Justin in some way (as well as some imaginary towns, including the very real-sounding Hinnom, TX). A vast geographical area is covered, with song titles ranging from Perth to Minnesota. Though none of the tracks convey any real connection with the place they represent to the listener, Vernon’s resolute passion and inspiration is evident with every lyric. However, despite these exterior altercations, the genuine beauty of Justin’s music can be found in the same places as it was found on For Emma, Forever Ago: the fingerpicked guitar of Holocene, and the evident pain in Vernon’s voice on Michicant are the most memorable moments, and wouldn’t have felt out of place on Bon Iver’s debut if it weren’t for the addition of several more layers of instrumentation.
At its best, For Emma, Forever Ago conveyed the emotions of an inordinately distraught individual to the listener with unprecedented sincerity. Bon Iver achieves much the same outcome, but does so in a somewhat more engaging manner. “I was not magnificent”, Vernon reflects on Holocene: No, Justin. You Weren’t. But to label you as anything else now would be selling you incredibly short.
Andy Chalmers