"8 (Circle)" really reminds me of Marc Cohen the "Walking in Memphis" guy
― Pull your head on out your hippy haze (upper mississippi sh@kedown), Monday, 3 October 2016 20:28 (seven years ago) link
This is great. Fuck music with soul and direction.
― Frederik B, Monday, 3 October 2016 20:42 (seven years ago) link
Don't know if you are a first time customer to Bon Iver, Frederik, but if that is your stance you will hate his first two records I suppose.
I'm all for auto-tune and vocoders. But a teeny weeny bit of genuinity would be nice. 22, a million, offers none.
― the tightening is plateauing (Le Bateau Ivre), Monday, 3 October 2016 20:59 (seven years ago) link
this shit is all about some old fashioned "authenticity" bullshit, he like goes down on bruce hornsby and indigo girls ffs
wow this shit is so crazy zzzzzzzzzzzzzzzzzzzzzzz
― Pull your head on out your hippy haze (upper mississippi sh@kedown), Monday, 3 October 2016 21:04 (seven years ago) link
I do hate the first two records, lol. Bon Iver, Bon Iver was my worst album of 2011. Hate is not too strong a word. I'm quite surprised I like the new one as much as I do as well :)
― Frederik B, Monday, 3 October 2016 21:16 (seven years ago) link
idk this doesn't really seem like the huge departure from the last one that people are claiming. the methods of arriving are different, but ultimately he's always making goopy watercolors of songs based around his voice.
― call all destroyer, Tuesday, 4 October 2016 01:15 (seven years ago) link
― Frederik B, Monday, October 3, 2016 4:42 PM (five hours ago) Bookmark Flag Post Permalink
hello 2016
― Wimmels, Tuesday, 4 October 2016 01:53 (seven years ago) link
i need to spend more time with this. i don't know if the sounds he is working with here really do the songs a lot of favors but maybe i will change my mind about that.
Bon Iver, Bon Iver was my worst album of 2011. Hate is not too strong a word. I'm quite surprised I like the new one as much as I do as well :)― Frederik B, Monday, October 3, 2016 5:16 PM (four hours ago) Bookmark Flag Post Permalink
― Frederik B, Monday, October 3, 2016 5:16 PM (four hours ago) Bookmark Flag Post Permalink
this is so perverse
― Treeship, Tuesday, 4 October 2016 01:55 (seven years ago) link
Second LP left me completely cold; two listens thru the new one and I'm utterly blown away. One of the freshest approaches to music I've heard in some time.
Likewise. It'll be interesting to see what sort of stamina this album might possess but wow, I sure am reaching for it a lot this week.
― doug watson, Wednesday, 5 October 2016 14:33 (seven years ago) link
this album is dumb
― blonde redheads have more fun (upper mississippi sh@kedown), Wednesday, 14 December 2016 21:08 (seven years ago) link
But is it performatively dumb?
― niels, Wednesday, 14 December 2016 22:26 (seven years ago) link
"33 “GOD”"(When we leave this room it's gone)Is the company stalling?We had what we wanted: your eyes(When we leave this room it's gone)With no word from the formerI'd be happy as hell, if you stayed for tea
(When we leave this room it's gone)Is the company stalling?We had what we wanted: your eyes(When we leave this room it's gone)With no word from the formerI'd be happy as hell, if you stayed for tea
― niels, Thursday, 15 December 2016 16:33 (seven years ago) link
Tour dates cancelled:
https://twitter.com/boniver/status/816645561126420480/photo/1
― heaven parker (anagram), Thursday, 5 January 2017 18:19 (seven years ago) link
this album is seven years old now. i think it holds up as a classic.
― Trϵϵship, Friday, 19 October 2018 03:44 (five years ago) link
especially calgary. like, come on.
― Trϵϵship, Friday, 19 October 2018 03:45 (five years ago) link
dunno... calgary is indeed beautiful, the album art is gorgeous, sonically it's lovely, but the songs are just a bit too wet in parts. i reckon the last LP holds up better.
― meaulnes, Friday, 19 October 2018 06:03 (five years ago) link
calgary, yes, beth/rest definitely
but overall found it a bit of a slog, overdone
― niels, Friday, 19 October 2018 06:04 (five years ago) link
classic sophomore syndrom, what came so easy on the first one sounds slightly forced/overthougt here
― niels, Friday, 19 October 2018 06:28 (five years ago) link
2 new songs.
I like Hey, Ma.
― triggercut, Thursday, 6 June 2019 03:01 (four years ago) link
album i,i out August 30
https://www.youtube.com/watch?v=wU-s_Zxv_MQ
i really like "faith" out of the new songs
― ufo, Thursday, 11 July 2019 17:27 (four years ago) link
have loved all 4 of the new ones so far. U and Faith maybe above the others.
― gman59, Thursday, 11 July 2019 20:48 (four years ago) link
U (Man Like) > Faith > Hey, Ma > Jelmore
― gman59, Friday, 12 July 2019 19:39 (four years ago) link
the album is out early and i'm really liking it on first listen - probably my favourite of his? a successful improvement on the samples-and-synths-everywhere sound of the last one which had some cool ideas but it felt too fragmented for it to really work that well overall. goes much further into sublime sophisti- (and i want to say kinda balearic in places) territory than his previous work too - "salem" and "sh'diah" are especially good.
― ufo, Thursday, 8 August 2019 15:03 (four years ago) link
Feel like some of the early over-praise for this is music over-correcting for the fact that they didn't call 22, A Million as being his best album by a distance.
― in twelve parts (lamonti), Wednesday, 14 August 2019 23:23 (four years ago) link
*music critics
Yeah, perhaps. I repped for 22, A Million (even in this thread) but eventually for me, the live reworkings superceded the album versions. The December 2016 show at Pioneer Works seems the definitive listen these days. I'm still underwhelmed by the new record.
― doug watson, Thursday, 15 August 2019 01:25 (four years ago) link
idk the critical praise for this seems pretty in line with the last two overall, maybe a little weaker if anything.
22, a million has some of his best work (particularly the middle section of "33 god"/"29 strafford apts"/"666") but as an album it doesn't work that well for me. it's very dense with ideas but doesn't really let them breathe, especially on the first two tracks. "45" and "00000 million" are pretty slight as songs too
― ufo, Thursday, 15 August 2019 07:25 (four years ago) link
Wore out For Emma, Forever Ago in response to a rough breakup back in 2008. I doubt I'll ever revisit it but it did what it had to most effectively. None of his subsequent records have held my attention.
― pomenitul, Thursday, 15 August 2019 08:14 (four years ago) link
Don’t care for this one at all; I did like the last one though. This just seems like a less interesting retread.
― akm, Friday, 16 August 2019 20:51 (four years ago) link
Good tip-off re that Pioneer Works show, Doug.
― djh, Friday, 30 August 2019 22:47 (four years ago) link
Curious to know how other Bon Iver fans received the Taylor Swift duet "Exile"
https://www.youtube.com/watch?v=osdoLjUNFnA
― Indexed, Thursday, 30 July 2020 15:54 (three years ago) link
still sticking on 22, A Million on the reg
― in twelve parts (lamonti), Friday, 26 March 2021 23:36 (three years ago) link
Not massively feeling the new S Carey, so far:
https://www.youtube.com/watch?v=UWvRRwJOfY4
― djh, Wednesday, 9 February 2022 19:16 (two years ago) link
Flagging this for my fellow Vernon fans: https://pitchfork.com/reviews/albums/deyarmond-edison-epoch/
Epoch begins with a dilemma. To explain why the avant-Americana quartet DeYarmond Edison is worth remembering, the box set would have to start with the recordings they made closer to the end of their mayfly lifespan. But to tell the whole story, it would have to start with Mount Vernon, their precociously professional teen band, whose songs, as the accompanying book gently concedes, may grate on the adult sensibilities at which this handsome shelf-buster is aimed. That they appear at the beginning anyway shows just how hard Epoch comes down on the side of storytelling. It’s a work of music journalism as much as a portfolio of songs, excavating how Justin Vernon, Joe Westerlund, and brothers Brad and Phil Cook grew up together in Wisconsin, rampantly evolved in North Carolina, and split off asymmetrically, with three of them earning modest acclaim as Megafaun and one earning Grammy awards and Taylor Swift guest spots as Bon Iver.The box is divided into six chronological parts, beginning with All of Us Free, an LP that captures DeYarmond Edison taking shape in the late 1990s and early ’00s. The second LP, Silent Signs, reproduces their second album, which they recorded just before leaving Eau Claire. That Was Then consists of four CDs documenting the performances in which they dynamited their newly refined sound, and these discs form the messy, brilliant heart of the box and the band. The LP Epoch, Etc. is the sound of them breaking apart under the stress, and hazeltons is Vernon breaking out on his own. The set concludes with the LP Where We Belong, with an A-side of recrimination and a B-side of reconciliation.Epoch was executive produced by Grayson Haver Currin, a Pitchfork contributor who also wrote the 114-page accompaniment, Time to Know. When DeYarmond Edison moved from the Chippewa Valley to the Southern capital of Raleigh in 2005, Haver Currin became a friend and fan, and the project is such a close study of their bond that it becomes a monument for friendship writ large—how it fits people together, changes them until they fit no more, and then, with patience, rejoins them at new seams.
The box is divided into six chronological parts, beginning with All of Us Free, an LP that captures DeYarmond Edison taking shape in the late 1990s and early ’00s. The second LP, Silent Signs, reproduces their second album, which they recorded just before leaving Eau Claire. That Was Then consists of four CDs documenting the performances in which they dynamited their newly refined sound, and these discs form the messy, brilliant heart of the box and the band. The LP Epoch, Etc. is the sound of them breaking apart under the stress, and hazeltons is Vernon breaking out on his own. The set concludes with the LP Where We Belong, with an A-side of recrimination and a B-side of reconciliation.
Epoch was executive produced by Grayson Haver Currin, a Pitchfork contributor who also wrote the 114-page accompaniment, Time to Know. When DeYarmond Edison moved from the Chippewa Valley to the Southern capital of Raleigh in 2005, Haver Currin became a friend and fan, and the project is such a close study of their bond that it becomes a monument for friendship writ large—how it fits people together, changes them until they fit no more, and then, with patience, rejoins them at new seams.
― Indexed, Tuesday, 22 August 2023 19:28 (eight months ago) link