Justin Vernon’s first album under the name “Bon Iver” came in 2007, as a low key self-released Midwest folk record. In 2008 it was re-released by Jagjaguwar records and the name Bon Iver was everywhere, often mispronounced and thought of as a name rather than it’s rough English translation, “good winter.” The name of Mr. Vernon’s project went so well with For Emma, Forever Ago, which was recorded in a rural Wisconsin cabin during a cold winter. The sounds on For Emma reflect that dark winter lull, few instruments were used and Vernon’s voices sounds as warm as a fire. Four years later Justin returns with Bon Iver, a more colorful album to say the least. Many more instruments make appearances and the songs aren’t quite as depressing. Time and time again Vernon claims that Bon Iver is an actual band and not just him but here he writes all the songs, produces, mixes and plays the bulk of the instruments. And although he is backed by 8 other people in concert, it somehow feels like it’s just him.

The narrator on Bon Iver isn’t so depressed this time around. He’s still sad and reflective of a past, perhaps better time, but he’s looking at the past to save himself rather than feeling about it. Vernon’s lyrics are as abstract as ever, but the music feels confident and colorful. Famed avant saxophonist and frequent indie rock collaborator Colin Stetson blows his horn on almost every track. Andrew Bird’s bassist and Happy Apple’s melody maker Michael Lewis guests on equally a as many, making Stetson and Lewis an unstoppable sax duo. Other well known guests include Sufjan Stevens buddy Rob Moose who contributes strings and arrangements on most of the album. The instruments blend together seamlessly, often it’s hard to distinguish a keyboard from a violin from a tenor sax.

A certain messiness surrounds the music, one that only enhances the sea of instruments in one’s ear. Percussion is treated as an after thought, and isn't the driving force of any song save for the stop start “Minnesota, WI” and march “Perth.” The melodies made by Vernon’s voice are the highlights and without it this music wouldn’t sound so special. In the liner notes a instrument credit is given as “choirs” to Vernon or another player, which one can only assume is a collection of one’s voices. Vernon tries out his lower register voice on “Hinnom, TX” and Minnesota, WI sounding completely different but just as mysterious and intriguing.

Bon Iver works best as a full piece of music as opposed single songs. Songs can be thought of as chapters or movements of something larger and cohesive. The outstanding section “Holocene” brims with lightly strummed acoustic guitars while the relflective line “I was not magnificent” and vivid “I could see for miles, miles miles” recur. Country-tinged “Towers” almost comes across as something too simple for Justin to be writing but the vocal melody stands out as one of his best yet. Near drum-less parts, “Wash.” and “Michicant” utilize sonic landscapes created by Stetson, Lewis and Moose. Influence and contemporaries and hard to spot but wonderfully named “Minnesota, WI” sounds almost Broken Social Scene-esque with a driving bass saxophone and floor tom thump.

Massive opener “Perth” comes across as soft and subdued as much as it does loud and huge, just as fitting for the end of an album or as it is presented, a triumphant beginning. The real life-stopper here is “Beth/Rest,” which maybe be the most 80’s song of the 2011 so far. Jimmy Fallon famously compared it to that of Bruce Hornsby, and regardless of your opinion on 80’s popular music, the song sounds genuine and real while sounding like a soundtrack to a melodramatic 80’s love drama flick. if Kanye ever does another 80’s pop inspired pop record, he’ll know who to call.

Each song on Bon Iver is named after a place, fictional or real. Lyrically the pieces have nothing to do with the titles other then to set them in ones mind as a places attached with a series of unforgettable events. The colorful sadness Vernon’s instrumentation paints is one unreplicated by any other, creating another world specially made for this group of songs. While this will most likely be the last full length release from Vernon & Co. for a few years there is enough to visit time and time again and will stay as a landmark in not only independent but popular music for years to come.

In February of 2012 Bon Iver, Bon Iver won Best Alternative Music Album and Best New Artist at the 54th Annual Grammy Awards. The song "Holocene" was also nominated for Song Of The Year but lost to Adele's "Someone Like You."