Sound of the City's year-end roundtable, with contributions from Tom Ewing, Eric Harvey, Maura Johnston, Nick Murray, and Katherine St. Asaph, continues. Follow along here.
|That's ee-vayr to you, Nicki Minaj.|
Greetings to you four from Bloomington, Indiana, a happening college town perhaps one or more of you have flown over at some point. It's the birthplace of Hoagy Carmichael and David Lee Roth, and the home of John Mellencamp and Jagjaguwar Records, a label which this year released an album called Bon Iver, Bon Iver that you may have heard of. Most critics liked it, some liked it a lot, Rosie O'Donnell wanted more, pop lovers and rockists alike united to sneer at the smoothness of his album's textures and its ostensibly outré signifiers (I prefer the first album, but am a sucker for the Bruce Hornsby vibes of "Beth/Rest"). At the time of writing, 317,375 music fans have purchased it40,000 more than Fleet Foxes, 40,000 less than LMFAO. Yet once the album was nominated for several Grammys last month, lots of people microcasted their ignorance of this album on Twitter. Quickly, another person culled this proudly professed ignorance into a Tumblr called "Who Is Bon Iver?" A member of a long-dormant Australian DJ concern accused him of "selling out" for lending his increased profile to something so horrifying as a whiskey concern, even though the accuser's own group hypocritically endorses deadly mountain calamities.
So what happened? Did the Bro From Eau Claire break through, or is he still a secret? If you follow music on the internet with any regularity, you couldn't go a day without hearing about him, but if you don't, there's a good chance you don't have any idea how to pronounce the name, and wait, the white guy from Kanye's album made his own album and everyone loves it apparently? To Twitter! It's clear why Bon Iver in 2011, just like Arcade Fire in 2010, made ripples critically, popularly, and awardishlythey fit long-established rock tropes into a modern, gently hip, and well-executed form. And it's also clear that this is happening at a point when with very few exceptions, good weird rock music is the last thing you expect to hear released by a music label owned by a multinational corporation.More »