Saturday, June 11, 2011

Bon Iver: second album with more of the same but with more instruments

Disk must be the stick that takes an artist when he sees his record, his beloved work of several months or even years, the network is filtered ahead of schedule. Downloads without paying and I guess they must be more than assumed by everyone, but the sight of this collection of songs, of children, hanging on the net too soon, should certainly be a blow.

Is going on continuously, and once more has happened again. Now Bon Iver, I saw a few days (one month before, go) as its latest and highly anticipated work is filtered, according to gossip (or keys) because of iTunes, I integrate a network of networks. The good thing about it is that Bon Iver has decided to put at our disposal in streaming, full ...

If you can not beat them, join them, I would say more than one, which leaves the possibility (and it is very hard to resist) of snooping ahead of schedule on the 10 topics that contains Bon Iver, which as you know by now, also the title of this album. Without doubt, what most marked the launch has been the hype.

An excellent debut from someone who shows a special sensitivity and caution as "sheds" the world is often associated with excitement when the noise fades, and Bon Iver have worked so seamlessly, even unintentionally. But the hype and stories about the making of this album have not only increased the desire of all who enjoyed that For Emma, For Ever Aug.

The same creative crisis that Justin Vernon was in charge of air, not have been very real, or at least it seems, and the result ... well, better hashing the result in peace. From the outset say that the fact of being at only 10 songs and I think an act as honest as possible today. Typically albums meet 12 or 15 tracks, and lists full of stuffing, but when I see an album with 9 or 10 tracks, I think the artist offers what you really want to offer, but sometimes know little, and also usually coincides with being the best it has to offer at the time, and this is true: no inserts worth.

We once again a sincere album, full of melancholy in the form of folk-laden feelings. An album in which most of the song titles are names of places and says much of what to expect of him, experiences and memories, music and personal lyrics from an artist who gets naked for us, and that each subject and "place" is influenced by different instruments.

With full musical, the album is a kind of break with Forever Emma, Forever Ago The sound of that simplicity is mainly based on Vernon's falsetto and acoustic guitar virtually no other addition, this sound becomes charged, together multiple instruments. Not surprisingly, Vernon is surrounded by many musicians for the recording of Bon Iver, with most of the subjects influenced by the sound of one or the other primarily.

In fact, Bon iver make us see from the very first time these differences, so there is no doubt, to 'Perth', where we found one of the most ornate of the album cuts, which mainly include a careful section wind under the ubiquitous falsetto, and military percussion, ending quietly falling apart in the low introductory 'Minnesota, WI', more full of American folk, even with its share of banjo and all, as indicated by the title of the topic .

Are much simpler 'Holocene' and 'Towers', but no less interesting. Abundant bare implementation of the above are far more ethereal interpretation, and close to the known in the debut of Bon Iver. The same thing happens with 'Michicant', that the arrangements remain brief in that sentiment gets too moving house brand.

In the same style and continuous environmental dream 'Hinnom, TX' to continue with the piano wire 'Wash', something less conspicuous, especially to follow the line initiated by the previous, but good taste and wisdom of Vernon to use a much less forceful voice if quite different from the others.

And after them come 'Calgary', the familiar advance of the album and that, at least for me is the perfect choice to make him known, as the culmination of it. Another of the most ornate instrumentally speaking and probably the most lively rhythms, whereas he is a progression from beginning to end in crescendo until it ends.

As a bridge towards the end tend Bon Iver 'Lisbon, OH', an atmospheric instrumental interlude toward the best possible closure, represented by 'Beth / Rest', where the influences of the eighties, with Phil Collins, Genesis and Peter Gabriel of the time going to mind more than one. In summary, a new proposal, which is new for the rotation in terms of instrumentation on this album, but also consistent with what started in Forever Emma, Forever Ago Expectations more than met, filled one of those who undoubtedly be records of the year and more than a welcome with open arms.

Justin Vernon has kept us in suspense almost four years (slightly less if we consider Blood Bank), with its problems of creativity, and although it is unclear whether the solution has come from him or his colleagues in the band and other artists who have participated in the recording of this album, thank you for work as round.

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