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Old 09-05-2016, 06:22 AM   #241
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he used to be way better.
^^^
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Old 09-05-2016, 07:33 AM   #242
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Well, first of all, Bon Iver, Bon Iver is 10 times the album For Emma, Forever Ago is. Secondly, we've heard three tracks, one of which can already stand with his best. So pipe the fuck down cunts.
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Old 09-05-2016, 09:21 AM   #243
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Has it ever been established what the name of the last album was? One "Bon Iver" or two?
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Old 09-05-2016, 02:23 PM   #244
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Bon Iver

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Well, first of all, Bon Iver, Bon Iver is 10 times the album For Emma, Forever Ago is.
Strongly disagree.
Stacks is one of the best tracks ever, Skinny Love, Blindsided, Creature Fear, Flume, etc are all outstanding. I love both albums a lot and it's very close, but I give For Emma the slight edge.
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Secondly, we've heard three tracks, one of which can already stand with his best. So pipe the fuck down cunts.

For real.

How about a Bon Iver Rushmore?
Stacks
Holocene
Blindsided
Heavenly Father


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Old 09-05-2016, 04:16 PM   #245
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Flume
Skinny Love
For Emma
Re: Stacks

For Emma is his best work by miles. It's not that I dislike the self-titled, it's very good, but For Emma is a masterpiece.
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Old 09-05-2016, 04:28 PM   #246
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Flume
Skinny Love
For Emma
Re: Stacks

For Emma is his best work by miles. It's not that I dislike the self-titled, it's very good, but For Emma is a masterpiece.





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Old 09-05-2016, 04:31 PM   #247
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Holocene and then everything else, basically.
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Old 09-05-2016, 09:28 PM   #248
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The Wolves
Re: Stacks
Perth
Blood Bank
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Old 09-05-2016, 11:22 PM   #249
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The self-titled is his best work by miles. It's not that I dislike For Emma, it's very good, but the self-titled is a masterpiece.

Fixed.

Bon Iver, Bon Iver is a step forward in terms of everything, from sound to production to songwriting. For Emma has the iconic tracks, and the other surrounding them are all at the least quite good, but the self-titled is a fully-realised masterwork. It is an album's album; to this day, despite how much I love it and how many times I've listened to it, I can't even tell you off the top of my head what Holocene or half the other tracks sound like, because it is just the most perfectly constructed album.
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Old 09-05-2016, 11:58 PM   #250
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So pipe the fuck down cunts.
Yes. Everyone should like anything they want to like, and we all should be happy to hear about how much they like it. Seriously, way too much negativity on the internet these days, especially about music. I remember the days when we all used to try out albums and bands for no reason other than the fact that someone we thought was a good poster was into them.

Too much of the internet douche culture as come through in music forums, I wish people kept their annoying opinions to themselves and stop trying to constantly try to rain on peoples' parades. We all know what it's like to be extremely excited about a song, band, or album. I wish we all could stop being assholes to each other and let others be happy with how they feel. Seriously. Music fucking rules.
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Old 09-05-2016, 11:58 PM   #251
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Bon Iver

A step up in songwriting? Couldn't disagree more. I've heard BIBI at least 20 times and can only bring to mind maybe half the songs (Perth, Calgary, Holocene, Beth/Rest...I remember liking Michicant a lot...I think?) Too much of it is pleasant background music that establishes atmosphere without sticking in my head.

Meanwhile, For Emma's tracklisting has been pillaged for nearly a decade as one song after another has been used for film and television or found its way onto the radio (granted, Holocene has been used in every drama released since 2011). It's loaded with memorable tracks, which is astonishing for such a modest and emotionally exhausting album, a debut no less. That's a testament to its fantastic songwriting. Hooky AND emotionally devastating is a rare and potent mix and those songs made him a star.

The followup is a delightful listening experience though. The production is excellent, the sequencing was clearly thought through and there are some interesting new avenues explored (the cinematic post-rock feel of Perth, the sophisti-pop of Beth/Rest). It's really good. But it is an album's album, a crafted artistic statement that, sadly, doesn't move me to anywhere near the degree For Emma did. It's like he perfected his aesthetic but ran out of topics that really engaged him. Even the less developed songs on For Emma are performed with such conviction that they can bring me to tears (Creature Fear specifically).

Hoping for the best from the new album. It's not Vernon's fault that he's picked a direction that makes me roll my eyes. Folk artists discovering electronic music never works for me outside of, I don't know, Beck? And that's going way back. Vernon has hung around with some gifted producers though, so maybe he's picked up some good ideas.
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Old 09-06-2016, 02:46 AM   #252
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Originally Posted by u2popmofo View Post
Yes. Everyone should like anything they want to like, and we all should be happy to hear about how much they like it. Seriously, way too much negativity on the internet these days, especially about music. I remember the days when we all used to try out albums and bands for no reason other than the fact that someone we thought was a good poster was into them.

Too much of the internet douche culture as come through in music forums, I wish people kept their annoying opinions to themselves and stop trying to constantly try to rain on peoples' parades. We all know what it's like to be extremely excited about a song, band, or album. I wish we all could stop being assholes to each other and let others be happy with how they feel. Seriously. Music fucking rules.
I don't mind it so much, I'm absolutely guilty of it (shit I was in the same boat before 33 God appeared ) but I get where you're coming from. I certainly miss the days of trying out albums for no reason other than the fact someone we thought was a good poster was into them, as you say, as well

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A step up in songwriting? Couldn't disagree more. I've heard BIBI at least 20 times and can only bring to mind maybe half the songs (Perth, Calgary, Holocene, Beth/Rest...I remember liking Michicant a lot...I think?) Too much of it is pleasant background music that establishes atmosphere without sticking in my head.

Meanwhile, For Emma's tracklisting has been pillaged for nearly a decade as one song after another has been used for film and television or found its way onto the radio (granted, Holocene has been used in every drama released since 2011). It's loaded with memorable tracks, which is astonishing for such a modest and emotionally exhausting album, a debut no less. That's a testament to its fantastic songwriting. Hooky AND emotionally devastating is a rare and potent mix and those songs made him a star.

The followup is a delightful listening experience though. The production is excellent, the sequencing was clearly thought through and there are some interesting new avenues explored (the cinematic post-rock feel of Perth, the sophisti-pop of Beth/Rest). It's really good. But it is an album's album, a crafted artistic statement that, sadly, doesn't move me to anywhere near the degree For Emma did. It's like he perfected his aesthetic but ran out of topics that really engaged him. Even the less developed songs on For Emma are performed with such conviction that they can bring me to tears (Creature Fear specifically).

Hoping for the best from the new album. It's not Vernon's fault that he's picked a direction that makes me roll my eyes. Folk artists discovering electronic music never works for me outside of, I don't know, Beck? And that's going way back. Vernon has hung around with some gifted producers though, so maybe he's picked up some good ideas.
That isn't a bad thing though - there's boomers out there who can't name all of the songs on Dark Side of the Moon, despite it being their all-time favourite album, because it's a suite of songs, really. An album's album.

And as I say, cueing it up now, off the top of my head I think I can only recall Perth, Michicant ("and at once I knew / I was not magnificent" - but I've probably got that mixed up with Holocene or something), Hinnom, Wash and Beth/Rest. Doesn't make it any less of a great piece of work. In fact it impresses me more, that whenever I come back to the album, from the moment those depressing guitar riffs start up in Perth, I know I'm going to be immersed totally for 40 minutes. They drift in and out of one another. Honestly, it could be one long track and I'd love it all the same. It is absolute genius.

Having never written a song, perhaps I can't extol the values of the songwriting on Bon Iver, Bon Iver vs For Emma, Forever Ago. I guess what I'm getting is that all the individual songs on the self-titled, to me, are incredibly well-made. Each song has several layers, parts, sections that just continuously blow me away with their attention to detail, how different instruments come together to form a wonderfully atmospheric whole. Take Minnesota, WI, which I'm listening to now and no one has ever talked about - in the space of a minute it goes from a gentle, downtrodden Sufjan-esque "never gonna break", and then his voice changes and some hard synths come slamming in. There's just so much going on. It's immersive. Whereas with For Emma, all its secrets are laid bare straight away. And that's okay, because they're awesome secrets. But it isn't the immersive experience the self-titled is, in my opinion. The lyrics are tremendous - and for the most part you can actually make out what he's saying, on the self-titled he might as well be singing a made-up language - but I am moved by every element of Bon Iver Bon Iver and the whole they make up, as opposed to just the heartbreaking lyrics of his debut and the acoustic guitar that accompanies it. The songs on For Emma range from all-time (as you can see, two of its songs are my top two Bon Iver songs) to very good, but for the most part, there isn't anywhere near enough for me to grab onto as there is on the self-titled. Thoughts on my thoughts? Do you get where I'm coming from? Anyone?

I'm really interested to hear the new album.
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Old 09-06-2016, 01:40 PM   #253
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I like For Emma, but when I think of it my mind usually goes here first:

Man Just Going To Grab Guitar And Old Four-Track, Go Out To Cabin In Woods, Make Shittiest Album Anyone's Ever Heard - The Onion - America's Finest News Source
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Old 09-09-2016, 10:49 PM   #254
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I don't mind it so much, I'm absolutely guilty of it (shit I was in the same boat before 33 God appeared ) but I get where you're coming from. I certainly miss the days of trying out albums for no reason other than the fact someone we thought was a good poster was into them, as you say, as well
I likely (definitely) had too much to drink and turned into a damn hippy again when I wrote this. I still think it's true though, music is freaking awesome, and the idea of raining on anyone's musical parade is awful.

I think the new song is great too, I've been enjoying it.
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Old 09-12-2016, 04:39 AM   #255
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Bon Iver

Some early impressions of the new album:

 
Believe it or not, it's actually a fairly typical Justin Vernon release. This is both a best-case scenario for me and a mild disappointment. Sure, I found the early release tracks a bit gimmicky and undercooked, but something about the "it's his Kid A/Yeezus/Age of Adz!" hype kind of got me excited.

It's none of those things. The songs he released early are about as weird as this gets. It's actually a very moody, quiet collection of pretty good Bon Iver songs that got tweaked obsessively in whatever DAW Justin uses. There are lots of effects and production quirks that give off the impression of that it's a really weird album, but at its heart it's not that far from what we're used to. Woods is more radical than anything on here, if you ask me. The last few tracks actually blend together a bit because they're so slow, sad and typical for the project.

Despite its corny/edgy title (they're all pretty corny, honestly), my favorite song hands down is 666, which is absolutely mindblowing stuff. The way the bass and drums are used, very sparsely but with punch when they appear, creates powerful dynamics for the song and the arrangement itself is awesome. That song really brings the album to life. If the rest of the album stretched out so ambitiously I'd probably love it, but for now I'll stick with being largely pleased by what I'm hearing.

It's good stuff. But if you've heard Bon Iver and James Blake albums in the past, you'll be fully prepared for this. It sounds like a collaboration between the two artists. A lot of emotive indie folk, a lot of sparse instrumentation and pitch shifted vocals.
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