Bon Iver's sophomore album lacks the intimacy of "For Emma, Forever Ago"

Bon Iver's self-titled sophomore effort remains stagnant in the transcendental musical daydream created by "For Emma, Forever Ago." It maintains the sparse, earthy ballads Justin Vernon, Bon Iver's lead singer and founding member, is known for, but fails to develop the budding artistic brilliance of its predecessor. Instead, Vernon produced an instrument heavy album that attempted to outshine "For Emma, Forever Ago," but fell short. To be fair, "Bon Iver" was met with soaring anticipation from fans and critics alike who fell in love with Justin Vernon's story, the seemingly mythical tale of a mountain man stowed away, lonely, in a frost bitten cabin for three months (not unlike a modern Henry David Thoreau). In this time he composed a solemn folk album steeped in heartbreak and loss that forced indie folk junkies to take notice. Now, three years later, the follow-up album stays true to its melancholic roots, but departs from the intimate sound and cult-like following established by "For Emma, Forever Ago."

A militaristic drum roll kicks off Bon Iver in "Perth." The full band is paired with layers of overproduced harmonies. This initial track sets the standard for the rest of the album, which is an ambitious orchestration and ultimately a huge departure from the modest tracks off of "For Emma, Forever Ago." "Holocene" is the only track that is slightly reminiscent of his older songs. In "Holocene" Vernon's vocals are commanding and carry a minimalistic musical arrangement. It is this song that allows Vernon's falsetto to expose even the most callous listener. His yearning vocals declare, "Not the needle, nor the thread, the lost decree/saying nothing, that's enough for me/…and at once I knew I was not magnificent." Vernon's charm lies in lines like these. Though often ambiguous and cryptic, he manages to render the darkest truths. He is brutally honest, forcing the listener to take refuge and reflect in his lyricism.

Most of the subsequent tracks on "Bon Iver" are good but forgettable. The closest the album comes to the Bon Iver staple "Skinny Love" is "Towers". But even "Towers" is a poor substitute for up-tempo heartbreak. There are very few tracks on Bon Iver that stand-alone. In order to get the full affect the listener must engage in the album as a whole. Certain songs, like "Michicant" and "Calgary", sustain some musical intrigue, but the album often slips into a boring pit of sameness. The massive instrumental sections, involving horns, drums, and strings, distract from Justin Vernon's illustrious falsetto. Bon Iver abandons its folk, acoustic foundation for a bigger, more processed sound, which occasionally works, but often times leaves dedicated fans nostalgic for the humble songs of For Emma, Forever Ago." The best example of this is the final track on "Bon Iver," "Beth/Rest." It is an 1980s influenced, electric ballad that might be the furthest from Justin Vernon's previous work.

Fans embraced and loved the slightly altered sound of "Bon Iver," because it is Bon Iver after all. But "Bon Iver" lacks the intimacy of "For Emma, Forever Ago." For three years Justin Vernon's sorrowful falsetto was a constant companion to the countless fans. On gray, ominous days, it was his voice that flooded out of iPods across the country. So, although "Bon Iver" maintains the mellow, nature driven mood of Vernon's previous music, it does not uphold the sublime affect of "For Emma, Forever Ago." Instead, it is simply a nice, upbeat compliment to its predecessor that is merely a lateral step in artistic development.