Bon Iver have imperceptibly moved from requesting close listening to requiring it, and i,i spins a mesmerising web of superficially insubstantial yet intensely majestic music.
i,i is a mature masterpiece and a stunning marriage of ambition and technique.
Bon Iver have bestowed experience to craft an emotional tour-de-force that displays an unparalleled understanding of the power of music.
Bon Iver’s fourth full-length, i,i, feels as confident as anything he’s ever done: a dense, richly layered showcase for his continued aversion to the standard rules of grammar and the deepening of his defiantly uncommercial sound.
You’ll want to spend another eighty minutes or more, listening to, breathing in, warming up, and getting comforted by the smooth sounds of the genius that is Bon Iver. This release is the band at their finest.
The punctuation that served prismatic purpose on 22, A Million is looking backwards on i,i, filling in the gaps of a catalogue that has quietly engrained itself in the canon of independent music, but still plays with the inquisitiveness and freedom of cats in the nighttime.
He is making music that, far from being strange, is actually as inviting as anything he has ever done.
Central to it all ... is a Justin Vernon with an altered disposition, more confident and looser—at times, he even sounds content, miles beyond the heartbroken For Emma solitude.
Throughout all of Bon Iver’s music, Vernon’s voice is the core. In this aspect, i,i is no different than any other Bon Iver album. Yet it is the culmination of all the various voices that Vernon has employed throughout his musical career that makes this album special.
There’s a warmth to the album overall, delicately balanced with vulnerability, making it equal parts comforting and heartbreaking.
This tricky, fickle, strange dedication to emotional progress is what defines Bon Iver, makes them so uniquely, irrefutably human, and so goddamn touching even when you can't understand what a single lyric means.
There is a tangible sense of joy in performance, although with no greater clarity of lyrical expression.
It’s in sitting with i,i that the album truly blossoms and reveals itself as Bon Iver’s most idealized work.
i,i never sounds less than excellent, with wide-open acoustic/electric audio structures allowing pizzicato strings to waft through and rising clouds of horns to blow in unexpectedly. It really is bleeding edge stuff.
If 22, A Million could come off as sometimes cold and always anxious, then i,i is the warm flipside, with songs that float and flutter, that call for resilience rather than resignation.
Bask in i,i’s deep autumnal glow.
Vernon is an expert curator of his emotions, even if i,i needs to let a little more air in under the glass at times.
It plays like a collection of first-draft Psalms for a congregation at a Crossroads, or perhaps one persistently and violently driven toward the edge of the World as we know it.
If you have the patience to drill deep enough into i,i, the bright spots are incandescent.
i,i brings all his incarnations together. Glitchiness and lushness are bedfellows here.
This is an album that you can feel as well as experience, perhaps the most complete Bon Iver album to date. Justin Vernon’s emotive approach to the album balances the individual and the communal with perfect precision.
He's always taking a big swing. That alone is worth celebrating, but when he hits the mix right on i,i, all of these high-minded thoughts go out the window, and Bon Iver rises to something truly inspiring.
i,i is in a sense a refinement of 22, A Million's innovations, but Justin Vernon still doesn't seem particularly interested in tying up his songs' loose ends.
You can let i,i overwhelm you or sink into its currents of drift and despondency – either way, it is immersive and rich. Yet it’s hard not to anticipate certain peaks (the unimpeachable climax of “Holyfields,” the joyfully silly “Sh’Diah” chorus) as if waiting for the school bell to ring.
I,I takes many mighty swings and at best knocks out a few infield hits, while striking out far too often.
Justin Vernon has succumbed to his most inane impulses – and released a selection of unseasoned, lightly scented pleasantries that neither hit or miss. They just are.
Justin Vernon has been building Bon Iver into an artistic commune of shared ideals – but loses his way in a fog of weak melodies and bad poetry.
Guardian you dumb bitch
Edit: I don’t know why people are talking about 22,AM a million as a glitch in the BI discography when it felt like such a natural turn for the band to take. Such a masterpiece.
i,i is definitely not as experimental and brave as 22,AM but it is surely a worthy worthy addition to Vernons legacy.
Bon Iver's epic conclusion to his seasonal album cycle finds Justin Vernon finally filling the deep crater he carved out years ago. What makes this album so satisfying is the emotional and sonic growth of Vernon over four albums. Bon Iver used to be one guy in a cabin in Wisconsin singing about his ailing life. Now, a community joins Vernon, producing an incredible record that reflects fondly on Bon Iver's best characteristics while never reverting to past ideas. It's not that the anxieties ... read more
Justin Vernon has always been one to hide himself and his emotions in his music. From the surrealist world he created in 2011's "Bon Iver, Bon Iver", to 2016's innovative, glitchy masterpiece, "22, A Million", where he hides behind the masks of The Messina and auto-tune. On his latest effort, however, Vernon isn't hiding behind the mask of machines, as he takes the various sounds of Bon Iver from over the years and reconstructs them, creating a complex, layered LP that ... read more
(March 12, 2024)
To start off, I would like to relisten to all of my old 10/10s, starting with the beautiful I,I. This album is great. Justin Vernon continues to remind me why he is my favorite vocalist of all time. As he sings his heart out over production that can only be described as both luscious and technical. A personal highlight for the production on this thing are the chopped synths, which give off this feelings of unknowingness. Everything here mixes together to create something that ... read more
#3 | / | The Young Folks |
#4 | / | Gaffa (Denmark) |
#4 | / | Magnetic |
#6 | / | NBHAP |
#6 | / | The New York Times: Jon Pareles |
#7 | / | TIME |
#7 | / | Uproxx |
#8 | / | MondoSonoro |
#13 | / | Far Out Magazine |
#13 | / | Les Inrocks |