Some things are just inexplicable. Why did Harper Lee and J. D. Salinger only write one novel a piece? Why are people furious about baseball players using steroids, but ignore when the best defensive player in the NFL (Shawne Merriman) juices? Why people were so upset about their library records possibly being looked at under The Patriot Act (what are you hiding bookworms of America)? But those discussions are for another time. Today’s venture into the inexplicable deals with the following: Why do indie folk and critics adore Bon Iver (and more specifically 2007′s LP For Emma, Forever Ago) to no end?
It can’t be the vocals. Singer/guitarist Justin Vernon has an overwhelmingly unspectacular whispery voice. Even when he’s trying to put heavy emotion into a tune, he never even approaches to being a captivating troubadour. The echoing qualities of Bon Iver’s sung words is a case unnatural overproduction that starkly contrast the simplicity of the instrumental sounds. At times on For Emma, Forever Ago, the lyrics are not even discernible do to the suffocating reverb. Even the Gregorian choir-like sound that begins “Lump Sum” is off; feeling more melodramatic than artistic or stirring.
It’s not because the music is exciting. In fact, it is quite the opposite, Bon Iver is music that puts you to sleep. This is not to be confused with an album that’s good to fall asleep to. For Emma, Forever Ago can put a listener to sleep when they’re not tired and are actively trying to listen. Nothing here is breaking any new ground or approaching anything in a way that is not cookie-cutter folk. At no point does it actively engage the listener. It’s dreadfully dull.
It certainly is not because of lyrics. Vernon’s words are most often incredibly repetitive (“The Wolves (Act I and II)” & “Blindsided”). Repeating the same thing eight times in a row does not make it more impactful. The chorus on “Flume” is a good example of the spotty wordplay:
Only love is all maroon.
Gluey feathers on a flume.
Sky is womb and she’s the moon.
It all reeks of being the type of lyrical work people are supposed to buy as really deep just because it’s sung softly.
Maybe (and this is a monumental stretch) it’s the instrumentals. They have a very natural feel. The acoustic guitar has a warm, authentic tone with a roomy feel (especially noticeable on “Flume”). Other touches such as guitar buzzes and flute harmonies add a thin slice of variety, but that’s it. It’s not as if there is virtuoso musicianship or creative guitar lines. On the whole it’s Wonder Bread bland.
There is no inkling of originality at any point of For Emma, Forever Ago. The album basically boils down to this; while it’s clear that Vernon posses an understanding of how to polish music, his songs are no better than thousands of amateur songwriters who frequent coffeehouse open mics.
Review Score: 2.0
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