![]() ![]() We’re only three albums into Bon Iver’s discography, and we’ve already arrived at the most drastic phase of deconstruction, which in Vernon’s place seems to have been brought on by a period of personal crisis and discomfort with fame, a la Radiohead during the lead-up to Kid A or Sufjan Stevensduring the long break before The Age of Adz. His trajectory seems to be an accelerated version of Iron & Wine‘s – earn early critical acclaim with a set of very simple acoustic home recordings, then graduate to more of a full-color production as your work begins to seep into the mainstream, then realize your work runs the risk of getting too mainstream and easygoing, and do your darndest to intentionally confound people’s expectations. Some intriguing ideas here and there, and I come back to the album a lot, but it’s too scattershot to really hold my interest.īon Iver, the nom-de-plume of singer/songwriter Justin Vernon, is one of those artists who has been intriguing to watch as he continues to decontrust himself more and more over the years. ![]() In Brief: Some call 22, A Million an astounding work of art, some call it a messy headache that’s been Autotuned to within an inch of its life. ![]()
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