22, A Million is perhaps so immediately welcoming because it’s bringing it’s listeners a sense of home, of being welcomed back after staying out in the dark for too long.
Not since Kid A has an album so superb pushed away and pulled closer its audience, simultaneously and with such aplomb.
The new album is a huge departure ... soaked in Vernon’s dalliances with hip-hop and subverting musical traditions at every opportunity. It clunks rather than strums. If Bon Iver’s earlier work evoked log fires, tall brush and the bite of cold air, this new material brings to mind concrete, live current and blinking strip lights.
With 22, A Million ... Justin Vernon shows that his greatest skill as a performer is not simply his ability to craft beautifully original music, but is found in his knack for seamless reinvention.
22, A Million isn't a game-changer ... Yet in the context of Bon Iver, it's an emphatic step forward, a gorgeous album that, rather than running from it, reflects our fractured world back at us.
22, A Million is a progressive and standalone album full of deep emotions and clever ingenuity.
It’s an otherwordly record made up of textures of distorted samples, soaked in vocoder, each track a dense fog.
These songs are chaotic, unexpected and jarring. Samples, vocoders, and shambling synths crash together in an unstructured soundscape. But if you listen through the anarchy, you will find a stirring, masterful odyssey.
After a few plays, 22, A Million begins to make a beautiful kind of sense. It’s the natural evolution of Vernon’s sound, back from when he experimented with a vocoder on the final track on the Blood Bank EP, Woods. And the songs themselves, once they’re stripped of all the vocal trickery, are as heartbreaking as ever.
22, A Million, when you take the time to truly unearth it, may well be the warmest work of his career.
If it seemed incongruous that Justin Vernon was rolling with Kanye West on My Beautiful Dark Twisted Fantasy in 2010 and Yeezus in 2013, Vernon’s new LP as Bon Iver shows that the indie-folk singer and megastar rapper are, in many ways, kindred spirits.
’22, A Million’ sees Bon Iver exploring and collating new sounds so beautifully while also remaining true to Vernon’s core as an artist and individual.
It may be doomed to be the drifting soundtrack to many a hipster coffee shop afternoon but listen closely and 22, A Million is subtle, weird and compelling – a brief, beautiful hallucination.
A succinct record of compressed and distorted ventures into folk, atmospheric electronica and blues.
He sings with the sad weight of a man who has survived a dark night of the soul, filling his opaque songs with transcendent emotion and other-worldly beauty that can make you feel foolish for even questioning what it could possibly all mean.
When you give them the time to weave their spell, tracks such as 21 Moon Water, 8 (circle) and 00000 Million are as moving and powerful as anything in the back catalogue.
His music has always had what you might call its Kid A side. His third album represents the point where the thinking behind something like 2009’s Babys, an abstract assemblage of keening harmonies, icy electronics and crashing cymbals, takes over his music completely.
22, A Million synthesizes archaic and future styles—or, rather, organic and synthetic sounds—to address and remedy the ailments of the present.
22, A Million is the band’s most impressive record to date, surging forward with oddities that, while certainly nothing new to adventurous listeners, bridge the gap with satisfaction.
It's an impressive feat of reinvention that manages to keep Vernon's emotional core fully intact no matter how far the music strays from established Bon Iver territory.
With his long-awaited third album, Vernon completely breaks from his guitar-hugging persona, leaving it in the woods like a Coen brothers corpse as he flexes a mastery of processed vocals, samples, loops, beats, synths and noise, along with more familiar trappings.
As with his work that precedes it, the impact of Vernon's 22, A Million far outlasts that moment when the record stops playing. What Bon Iver manages to do in barely 34-minutes, other artists often cannot do in a career.
Banjos and atmospheric drums collide with heaving synths and discordant saxes throughout, sometimes yielding cuts more notable for their experimentation than their pop pleasures.
The album dares you to come closer, to peer into its depths and figure it out. But in the end, there may not be anything to figure out.
22, A Million is a gorgeous victory and a righteous revival of a talent that for a moment was only best displayed on records by Kanye West.
There is a certain uncompromising bravery that I have to respect as I for one like to see artists get outside their comfort zone. If this album is not outside of the band’s comfort zone, it is certainly outside the comfort zones of most fans of Bon Iver.
The flashes of brilliance in Justin Vernon’s dark night of the soul are frustratingly few on his cryptic, effects-laden third album.
After about a month of reading and writing, so much contemplating and questioning, and typing 7000 words across 12 pages on Word, I finally present to you the 500, 600, & 700 (BASED) follower special!
Thank you all so much for these milestones. I really don’t know what to say and can’t express my appreciation through a review. However, I can say for certain that this community has been incredible since I joined earlier this year. It’s been so much fun here, and the ... read more
A preface, before the pretentiousness:
I sound overtly-fancy in this entire review, not only because this record's material is just so opaque that I think it needs this type of analysis and wording, but the record itself is also pretentious. For that, I do apologize. However, this was the hardest thing I've ever had to write. Over the course of two months, I've tried my hardest to collect and control my thoughts on this brilliantly fascinating experience. These have been difficult, gripping, ... read more
Stunning fusion of folk and electronic. The vocal effects add so much weight and rawness to the emotional moments, and the production ranges from intense and heavy to stripped back, calming, and uplifting.
Favs: 33 “GOD”, 22 (OVER S∞∞N), 715 - CR∑∑KS, 8 (circle), 666 ʇ
1 | 22 (OVER S∞∞N) 2:48 | 92 |
2 | 10 d E A T h b R E a s T ⚄ ⚄ 2:24 | 89 |
3 | 715 - CR∑∑KS 2:12 | 88 |
4 | 33 “GOD” 3:33 | 94 |
5 | 29 #Strafford APTS 4:05 | 93 |
6 | 666 ʇ 4:12 | 90 |
7 | 21 M◊◊N WATER 3:08 | 85 |
8 | 8 (circle) 5:09 | 93 |
9 | ____45_____ 2:46 | 87 |
10 | 00000 Million 3:53 | 91 |
#3 | / | The Skinny |
#3 | / | The Times / The Sunday Times |
#3 | / | Uproxx |
#4 | / | No Ripcord |
#5 | / | Dork |
#5 | / | Nerdist |
#5 | / | NPR Music |
#5 | / | The Line of Best Fit |
#5 | / | Variance |
#6 | / | Northern Transmissions |