Dude, have you heard the last song on the new Bon Iver record? That it sounds like "Colors of the Wind" -- you know the lead single from Disney's "Pocohantas," sung by Vanessa Williams -- wouldn't be such a bad thing if the rest of the album didn't sound like Sting circa 1992 or Phil Collins circa 1986. With the ultra-processed setting on the synthesizer and the heavy Auto-Tune on the vocals -- um, isn't this supposed to be indie rock?
"Bon Iver" is, surprisingly, a bro record. There are thick emotions throughout it, but they're all somewhat amorphous, swallowed by the unintelligible lyrics, hefty chords and dramatic countermelodies in the orchestration and vocals. In the end, there are well-composed, cinematic scenes, but they leave the feeling of a sweaty hug after a tough party -- people feel sad and they know this moment is important yet they're not exactly sure why. Considering Justin Vernon made his reputation on the poignancy and mythology of Bon Iver's first album, recorded in the dead of winter in Wisconsin's woods, brooding over a woman and much more, I thought this album would have more content below the surface.
By the time that last song, "Beth/Rest," kicks in, it's almost as though Vernon dares you to like it. The song isn't a gigantic wink at the audience, either. Vernon has said before how much he likes Bonnie Raitt and Bruce Hornsby, for example, and he's always presented himself as an earnest guy (the latter of which is admirable). He executed one of the past five years' most beloved records, so why not try to sneak a synthesized 1980s adult top-40 pop song past you, too?
There is something compelling about the song. My friend says it's a great closer because it provides a refreshing sense of resolution to the album, and I somewhat agree. Vernon cares about the whole record, which is a pleasing throwback in 2011. "Bon Iver" makes the most sense when you listen to all of it and take the time to appreciate each song's structure and growth. In this context, "Beth/Rest" is a part of a little world Vernon constructed -- the final resting point. Nonetheless, the song takes the production values and careful constructions that are the record's strengths and and heads to murky, unknown territory. The sincere kitsch, introduced by that keyboard hook, is a step too far for me, and suggests Vernon thinks he can get away with anything and still make it meaningful because he's Bon Iver. Not necessarily so.
Decide for yourself: above is a relatively good video of Bon Iver playing the song live.
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