I want to start a series where I experience trendy albums that I have yet to properly listen to and understand the hype. This will give me the chance to explore more genres and musical influences that surround some albums which wouldn’t attract me otherwise.
The first album I’m covering is Bon Iver’s 2016 ’22, A Million,’ the tracks that I have partially listened to have confused me and didn’t strike as something that I would enjoy or repeat. However, this album kept popping up in articles and through other musicians praising its artistry. I know of Bon Iver’s work and associate him with soft folky guitar sounds and unique vocals, ’22, A million’ is not so folky but more of a musical exploration utilising numerous instruments and voice samples.
A commentary YouTube channel, Middle8, describes this album as ‘a celebration of the human voice’ and from the first track, this is proved accurate. You are greeted with a long slur of Vernon’s distorted voice that you can’t help but draw focus to throughout the record. It is around a minute in when you are greeted by a single guitar chord that cuts through the built-up tension and follows the track to the soothing end.
After this quite peaceful track finishes, the offensive beat of ’10 dEAThbREasT’ completely shakes the tempo and demands your attention. When I was initially listening to this, I was lying in the dark, and the fast drums started to kind of freak me out. I wasn’t expecting it, but the exploration of tone and layering in this song is powerful, and I would recommend listening with good quality headphones.
I have to touch on the heavily used auto-tune throughout this whole album, which is best showcased on ‘715- Creeks.’ Justin Vernon was said to be inspired by Kanye West’s use of the tool and has often collaborated with West throughout the years. I can see the influence quite clearly when compared to West’s 2008 ‘Heartless,’ and can see auto-tune used frequently by other contemporary artists such as The 1975 and Charli XCX in their recent albums.
Using auto-tune unconventionally has always intrigued me due to the tool’s usually being a representation of a bad and untalented artist. Using auto-tune candidly to project such heartfelt lyrics: ‘Honey, understand that I have been left here in the reeds / But all I’m trying to do is get my feet out from the crease,’ elevates the emotion in Vernon’s voice as he’s actively fighting against the tool who’s aim is to fix the raw, choppy tone. I really enjoyed this track.
Next, ’33 “God”‘ brings chaotic and messy energy with it, showcasing many samples such as from Paolo Nutini’s Iron Sky which I was able to recognise. This track feels like a collision of many voices in a person’s head, different pitches and volumes but all struggling to be heard. This is then followed by ’29 #Strafford APTS’ which feels like more of a traditional Bon Iver song, it is stripped down to plucking on an acoustic guitar and distant violins. There’s something about the note that Sean Carey (who accompanies this song) reaches when singing the ‘Paramind’ lyric that lingers in your mind.
As we head into the second half of the album, it appears to mellow out with 666’s soothing electric guitar that echoes through the track. At around this point, I started to really enjoy this album and the journey I was experiencing. Each instrument used seems to pull out a different feeling and although the lyrics can feel distant and hard to follow at times, the beat alone tells the story perfectly.
I have to finish with praising the closing track ‘00000 Million’ which is by far my favourite and is just a beautiful ending to this chaotic LP. I can imagine just how good this would sound playing out into an open field at night. The lyrics and Vernon’s voice take centre stage here, and I believe this is why it is so effective. Lyrics such as ”If it’s harmed me, it’s harmed me, it’ll harm me, I let it in,’ and ‘I hurry ’bout shame and I worry ’bout a warn path / And I wander off, just to come back home’ really provide a good grounding for what Vernon has learned from this 5-year long experience completing this album. I feel that I could listen to that song over and over again.
I can’t say that I was surprised that I ended up liking this album, I would consider myself a fan of Justin Vernon’s work alongside his production credits on albums such as ‘If I Was’ by The Staves. This album was not what I first expected it to be which was a sort of drafted, directionless, and mismatched LP that Vernon just said ‘Fuck it’ and released. Instead, it ended up beautifully showcasing a lot of pain and energy that Vernon displayed cathartically.
Released within an era of Justin Bieber and Drakes dance revivals, this album really stands out as an impressive black sheep amongst the crowd. If anything, it definitely proves Vernon’s creativity has no boundaries.
I completely get the hype.
saharamelts 