Redpill me on

>>74683019
it's not good. go listen to his s/t instead.

>>74683131
ok. But the cover of this looks really good.

>>74683204
this fag >>74683131 has bad taste don't listen to him

this is Justin's best LP...best!

>>74683224
even fantano disagrees with you

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>person talented in one genre wants to try something new
>produces bottom of the barrel trash in other genre

whats some artists that did this?
>bon iver
>michael gira
>leonard cohen

>>74683019

people really wanted to like it, but you can tell that it was a mediocre album because no one really talks about it anymore. no lasting impact

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>>74683019
An amazing album, give it a chance while sitting on a bench in the sun. Bonnie Bear gets da feelz pumpin

i liked it, i can see why lots of people didnt though

My favorite album right now. It's a very personal and cathartic experience for me. It's about nothing yet everything at the same time, you have to fill in the blanks on how it relates to you. Secondly the unique blend of sounds he's pushing out sounds really good especially on the more experimental tracks. The way he uses non-traditional song structures makes it feel more like an audio story being told rather than just another song, if you don't expect the classic hook and chorus format it forces you to listen a bit more intensely to what will happen next. Because of the backstory you can hear how much of himself Justin put into this, you can hear the urgency and passion in his voice.I know all of this sounds like complete garbage but that's the only way I can describe it. For me it just clicked instantly on the first listen and since then I haven't stopped.
>basically I relate to this personally so idk how you're gonna like it

>>74683019
poor man's age of adz

An amazing summary of Vernons growth as a producer. You can see the influence of working with kanye and james blake on it.

I think it strays from earlier bon iver in the aspect it is not a very accessible album.

I'm listening to it right now, it sounds like a jazzi discount James Blake :/

I wrote a review for a local paper a while back. Will post it here now for your anonymous pleasure.
______________________________

Like recent collaborator Frank Ocean's Blonde, Bon Iver’s 22, A Million has had quite an elaborate gestation. After first surfacing at leading member Justin Vernon’s Eaux Claires Music Festival in August, a number of audience recordings duly appeared on the internet; then, 33 days before release, 22 leaked onto the Internet after appearing briefly on the Danish iTunes catalogue; an mp3 rip was promptly uploaded to Soundcloud, and by the time it had been taken down the leak was everywhere, safe and seeded on a few thousand different hard-drives. 33 also happens to be the number of gods present in both the Hindu Vedic pantheon and the album's advance single of the same name; a press conference (a press conference? Is this a new iPhone or an album?) and a Fallon appearance followed to considerable hype. Whether the timing of the leak was intentional or a supernatural affirmation of the album's confidence in numerology (and I'll let the discerning reader decide for themselves as to that one...), it's a release which suggests an artist in total control of his work.

>>74684142
The illusion, if there is one, remains undispelled by the music. Bereft of the eye catching guest spots of sad-boy peer James Blake (on whose album The Colour in Anything Vernon guested) or Ocean, or even of erstwhile collaborators Kanye and Beyoncé, 22 is very much a Bon Iver album. That's not to say Vernon hasn't evolved from the pastoral soundscapes of his sophomore effort of the folksy noodling of for Emma forever ago; though Blake feels far too lazy and overused a comparison, there are certainly nods to his own peculiar brand of blubstep in Vernon's now autotuned falsetto and penchant for electronic pads. Blake’s fellow British art-pop peer East India Youth fits the bill somewhat better, if at an extra degree of remove to Vernon, given their shared physical and emotional presence at the forefront of their mix: Vernon's voice is the focus, rather than a vehicle or a textural companion to the music, and it's to his credit that it merits the emphasis. Hints of Midwest Americana are still present, like the banjo plucks which ease in and out of “33, “GOD”” and “______45______”, or else the steel string noodling of “29 #Strafford APTS”, yet these tend to be either accompaniment to the various sorts of electronic noise making, like the chaotic rush of backwards noises at the climax of “21 MOON WATER,” else electronically processed like the sax lines in the same song. By the end of the album, it’s clear that Vernon has grown as a producer, and the depth of the album’s sound comes through even on the inferior rips.

>>74684158

That said, vocals and experimentation can only take you so far. 22, A Million passes easily by the ears, as both For Emma and Bon Iver did; yet unfortunately, in the midst of all the drum machines, samplers, modular synths and mod cons assembled for 22's production, Justin Vernon seems to have misplaced his songwriting talent. Repeated listens reveal nor the emotional depth behind the direct folk of For Emma nor the compositional talent he displayed on Bon Iver; the reward for the committed listener is a growing appreciation for the album’s excellent production, but also a growing frustration with the album's raw material. The oblique pretensions of Vernon's lyrics were next to irrelevant when set to the soaring melodies of “Hinnom, TX” or overshadowed by the martial backing of “Perth”; with those qualities absent, they come off as oblique and pretentious as the album's song titles. Stripped of it’s lush background, 22, A Million’s absence of narrative and below-surface level emotional resonance becomes crippling: “715 - CREEKS” features nothing but Vernon’s voice in various stages of vocoder and autotune, but its starkness, rather than hinting at whatever meaning the song may have, reveals its paucity of ideas instead, as well as the embarrassingly vague narrative seemingly designed to prompt a generic identification from everyone without provoking a genuine identification from anyone. The niggling suspicion is that the leap from organic to electronic maximalism does a disservice to the material's paucity by cloaking it in the trappings of quality; and the album's overall ease of listening owes much to its essential ignorability than to its ambient intentions. In other words, this album is very much a pigeon dressed as a peacock.

>>74684174

It's hard to argue that 22, A Million is a bad album, for it certainly isn’t. Nonetheless, given the frankly rather irritating manner in which Vernon released it to the world, it's equally easy to caution that you shouldn't believe the hype: it's an album of above average production couching fading songwriting that happens to come off, over-elaborate release strategy aside, as enjoyable yet quite average.

___________________________

And that's that. Have a feeling this is going to turn into pasta alas, but hope it makes a few anons kek at my own pretensions nontheless.

For Emma will always be my favorite of his. Skinny Love makes me always cry.