Most fans of indie music know the story of Bon Iver’s first record like the back of their hand by now. Justin Vernon broke up with his girlfriend, band, got sick with mono, and decided to seek refuge in a remote cabin in the Wisconsin woods where he recorded his debut album as Bon Iver titled “For Emma, Forever Ago”.

The story has garnered Vernon a cult following and cemented his status as an indie legend. Recently, the band announced a vinyl reissue of the iconic album. Which, will feature new artwork and will be accompanied by a live performance of the album in Milwaukee, Wisconsin, on February 17, 2018.

Since the release of “For Emma, Forever Ago,” the band has gone in drastically different directions. The band’s 2011 release “Bon Iver, Bon Iver” featured sweeping soundscapes and lush instrumentation that expanded upon the raw acoustic nature of their debut. “22, a Million” released in 2016, and was an electronic extension of the band’s earlier albums, resembling Sufjan Stevens’ “Age of Adz.”

The widespread acclaim, Grammy wins and collaborations with artists such as James Blake and Kanye West would cease to exist without the framework built with “For Emma, Forever Ago.” Where the rest of Bon Iver’s discography utilizes grand soundscapes and unique combinations of complex instrumentation, “For Emma, Forever Ago” succeeds in its intimate lyrics and isolated, icy acoustic heartache.

The album opener, “Flume,” introduces the listener to Vernon’s beautiful falsetto, with a backdrop of a creaky and squealing acoustic guitar. Vernon doesn’t write lyrics with the intention of making total sense, but instead writes based on what words sound good together, as can be heard in the chorus of the song: “Only love is all maroon/ gluey feathers on the flume/ sky is womb and she’s the moon.”

“Skinny Love” is the third track on the album, and is the breakthrough song that vaulted Bon Iver to becoming a household name. It is a heartbreaking ballad that features a pained Vernon spitting: “Come on skinny love just last the year/ pour a little salt we were never here.” The song is the emotional center of the album and is one of the best breakup songs of all time.

The most upbeat song on the album comes towards the end of the album with “For Emma.” The song sees Vernon introducing horns and other vocals that harmonize in the background, indicating that maybe some light is seeping through the cracks for Vernon and there is some hope.

The album closer, “Re: Stacks,” is a slow and beautiful track, featuring the soothing and uplifting falsetto of Vernon tying the album up nicely. Its the sound of Vernon finally coming to peace with himself and indicating the new beginning and direction of his life: “This is not the sound of a new man, or a crispy realization/ It’s the sound of the unlock and lift away/ your love will be safe with me.”

“For Emma, Forever Ago” is a hugely important album in the scope of the music industry, as Bon Iver paved the way for all of the alternative-folk acts to follow in the coming years, from Mumford and Sons to the Lumineers to Of Monsters and Men.

Not only that, but Vernon’s impeccable falsetto became widely known after numerous collaborations with Kanye West. Vernon was featured on the songs “Monster” and “Lost in the World” from West’s “My Beautiful Dark Twisted Fantasy,” and was also on West’s 2013 album “Yeezus,” which had great influence upon “22, a Million.”

The influence and impact of “For Emma, Forever Ago” cannot be overstated. Who could’ve guessed that one of the most iconic albums of the 2000’s would come from one man isolated in the Wisconsin woods?

The post Music MATTers: Bon Iver’s “For Emma, Forever Ago”- 10 Years Later appeared first on KRUI Radio.

With electronic music constantly expanding its scope, many genres continue to earn themselves a niche in modern day music. Dubstep, a late nineties genre born out of South London, began its heavy hold on the United States EDM scene circa 2010. Not everyone was fond of this new, boisterous style. It became the go-to genre for amateur DJ’s, and the music of choice for the hackneyed bro scene. While artists like Skrillex were creating an Americanized wub-culture, James Blake set out to reestablish dubstep’s roots, bringing an extraordinarily pure soundscape with him.

Last Saturday, on tour for his latest album, Overgrown, Blake performed at The Englert to a surprisingly age-diverse crowd. Many of the young audience members, seeking a more personal experience with the London-based artist, refused the conventional seating arrangement, and formed a dense group in front of the stage.

Starting with “I Never Learnt To Share”, Blake looped his subtle, pristine voice into a progression of synthesized notes between the guitar and keyboard. Every sound merged into a complex, echoic set of emotive tones, and eventually, a heavy, nodding bass. The crowd applauded overwhelmingly at the beginning of the song, making it audible in every loop thereafter. Aside from this benign altercation, the song was a short but telling predecessor for the rest of the show.

Blake chose a great balance of music from his albums and EPs. Although fans would argue that his releases are immensely significant, they would probably argue that his performances are even more so. The rhythmic menagerie of lights accompanied an already captivating auditory experience, making his live show a transformative testament.

It was visually ecstatic, combining the warm effect of incandescent lights with both pleasantly jarring floor lights, and bull’s-eye ceiling lights. These unique customizations assimilate seamlessly to his music, enhancing every sound. The visual landscape is only outdone by Blake’s driving, soulful melodies.

After slowing down with “Our Love Comes Back” and “Lindisfarne” (a beautifully constructed, ruinous lull), Blake ramped up the energy with “Voyeur”, the most upbeat tune of the night, giving the ones standing a pseudo-club experience. The organization of his dynamic songs was unabashed. The reactions of the crowd proved this, as they remained energetic during upbeat songs, yet were able to slow down for his somber tracks.

Blake’s inviting attitude and comprehensive skills allow him to succeed. He can produce hard-hitting bass trills, yet he is also a classically taught piano player. This combination produces an elegant, yet experimental atmosphere of sonic projections. It seems much more respectable than the obnoxious chaos of Americanized dubstep, and that’s because it is.

“If you go to a club tonight, eventually you will inevitably get bored of hearing everything building up (to this) … tension-and-release thing that is actually very predictable. If you really wanted to make the impact as fresh every time, then maybe don’t do the same thing over and over again. But that’s the kind of ethos I have with the show, to try and give people a certain amount of time in each space.”

-James Blake

He gave us this time with consideration. Blake’s smooth voice and settled synths circumvented every soul. The silence of the crowd during “Measurements” was impeccable. There wasn’t a single noise until the crowd applauded as he walked off stage in complete darkness, while the loop continued in the background.

No one should need music to screech loudly in his or her face to be able to connect with it. Contrary to the “testosterone-driven, frat-boy market” style, Blake’s spacious construct begs for patience and sensitivity so that we can dissolve his complicated structure into accessible pieces. As some artists continue to move towards mind-numbing, indistinguishable aggression, James Blake forces us to decelerate, allowing for active and intelligent perceptions to flourish.

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The post Concert Review: James Blake @ The Englert 11/16/13 appeared first on KRUI Radio.