Album Review: Some Nights

Some Nights by Fun. (Fueled by Ramen/Nettwerk, 2012. 46 minutes)

Fun. is an American indie pop band from New York City that was formed in 2008 after lead singer Nate Ruess broke up with his Arizona-based band, The Format. He formed the band with Andrew Dost of Anathallo and Jack Antonoff of Steel Train.

Epic

As I sit writing this review, I am one day removed from receiving word that I needed to listen to Some Nights by Fun. I was in the store at the time, getting some groceries for the week, and I was told to leave the shopping cart in the aisle, and run home to listen to it. In retrospect, I should have left the cart and sped home.

Normally, I wait for an album to marinate so that I can fully understand its intricacies. In this case, one days is enough. I’ve been listening to Some Nights constantly since yesterday; it’s that good.

The word I would use to describe the album is “epic”. It’s a mix of Queen’s big-chorus sound, Flogging Molly’s Irish themes, Billy Joel’s melodic lines, and Peter Gabriel’s well thought out production all wrapped up into a modern electronica pop.

Formerly of The Format, lead-singer Nate Ruess, and his band, Fun., owe their new popularity to the newest single, “We Are Young” featuring Janelle Monáe. It’s on the radio, debuted in a commercial during the Super Bowl, and it’s pretty catchy. It has a boomy, sing-along chorus that will undoubtedly bring a smile to your face.

Freeway Driving 

Listening to the album, it opens with an intro to the song “Some Nights”, the title track. Its intro is weird, so my original appraisal was not high. Two minutes later, the main part of “Some Nights” begins, and I was thrilled. It’s exactly the kind of song you would listen to driving down the freeway with windows rolled down and the stereo pumping.

“Some nights I stay up cashing in my bad luck, some nights I call it a draw...but I still wake up, I still see your gospel Lord, I’m still not sure what I stand for.”

These lyrics focus on the dualistic nature of life, and how we can be simultaneously depressed and hopeful. The full, Queen-like vocals, with classic 80’s electric guitar soloing in the background eventually dissolve into an electronic, auto-tuned vocal melody against a piano backdrop, somewhat reminiscent of the band, Jack’s Mannequin. Epic.

Inspired by the Past 

On the Flogging Molly side of things, the track “Carry On”, has an Irish background of accordions and flutes infecting the entire song with wonderfulness. A full orchestra joins the latter part of the track, adding texture to the song, continuing the percussive fullness of the album.

If you want to hear a wonderfully crafted melody, listen to the Billy Joel-esque, Bee-Gee inspired sound of “Why Am I the One”. Fun. reminds the listener in this track why classic rock still rules. At 2:45, the track breaks down into a rhythmic, piano-driven jig, and the lead vocal line of Nate Ruess dances against the countermelody of the chorus, then breaks into an immense chorus, eventually ending in orchestral bliss.

To end the album, a simplified version of “We Are Young” is sung, which is more beautiful than its earlier jamming version and perhaps an appropriate ending to the end of the album, as it exposes the simplicity of guest artist Janelle Monáe’s voice after such a complex and loud album. In short, this album is absolutely innovative, complex, and loud. Some Nights will cheer you up. Listen to it now; drop your shopping cart in the grocery store and go.

Verdict: 5 out of 5

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Posted by: Andrew Jacobson

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Album Review: Bon Iver

Bon Iver by Bon Iver (Jagjaguwar, 2011. 39 minutes)

Founded by singer-songwriter Justin Vernon, Bon Iver is an indie folk band featuring Vernon, Michael Noyce, Sean Carey, and Matthew McCaughan. The band began when Vernon self-released his first record, For Emma, Forever Ago, after spending three months working through the breakup of a band and a relationship. With much critical praise surrounding the first record, Vernon signed with Jagjaguwar. In the wake of For Emma, Forever Ago, Vernon collaborated with Kanye West on his latest record, My Beautiful Dark Twisted Fantasy. Bon Iver released its self-titled second record on June 12, 2011 and entered the Billboard charts at number 2.

Sending Chills Down the Spine

In certain ways, music contains the curious ability to be felt when heard. At times when I hear chords and melodies that I love with all my being, these musical phrases send chills down my spine and manufacture goose bumps throughout the epidermis.  Sometimes, a song needs no deep underlying point to remain effective; it only needs a feeling.

With Bon Iver’s latest self-titled release, Justin Vernon builds on his songwriting fundamentals from his debut while replacing the sparse coldness of For Emma, Forever Ago with heavy production and electric instrumentation. In short, Bon Iver is a record that conveys a feeling.

This point reveals itself clearly when an overdriven guitar with hints of a chorus effect soars over a double-bass pedal and crashing cymbals in “Perth.”

Retro

As the album unfolds, it becomes evident that Vernon leans heavily on the 80s stylings of Peter Gabriel and Bruce Hornsby.

In all honesty, each track (titled after a City, State, or made-up place) on Bon Iver is perfectly positioned. As such, it is hard to discuss the work from a “song” perspective because the tunes not only blend well together but also each song carries such a high quality that it is hard to privilege one song over another.

Holocene

Despite this fact, some songs are worth mentioning. First, “Holocene” might signify the prettiest song I have ever heard. With bright-as-the-sun fingerpicked guitars and Vernon’s trademarked falsetto, the song conveys ethereal feelings as he sings,

“And at once I knew I was not magnificent / strayed above the highway aisle / (jagged vacance, thick with ice) / I could see for miles, miles, miles.”

Calgary

Additionally, the album’s first single, “Calgary,” blends cryptic lyrics, a unique chord progression, instrumental counterpoint, and a four-on-the-floor rhythm. With a clear link to the work of Peter Gabriel present in the song, Vernon croons,

“Joy, it’s all founded / pincher with the skin inside / you pinned me with your black sphere eyes / you know that all the rope’s untied / I was only for to die beside.”

Beth/Rest

Yet, in perhaps the most daring move to date in Vernon’s career, Bon Iver’s ending track challenges all previously held opinions about cheesy 80s music. Channeling every over-the-top tone found on records in that decade, “Beth/Rest” goes for the gold and, honestly, succeeds.

As a long-sustaining solo builds toward the end of the song, Vernon screeches,

“This is axiom!”

Taken at face value, Vernon affirms the self-evident simplicity and beauty of this record. It does not attempt to fit into a defined “hipster” mold. Instead, it is written with a feeling.

Erudite Lyrics

Of course, as with most of Vernon’s undecipherable lyrics, “This is axiom” could exist for the purpose of its sound and feel. In fact, strewn throughout Bon Iver are many erudite words and little narrative focus. While listening to the record, you’ll hear terms like “fide,” “Noachide,” and “soffit.”

Without an overall narrative sense in the lyrics, it is best to view the lyrics as an extension of Bon Iver’s sonic palate. In other words, Justin Vernon not only meticulously placed each note and produced sound to convey an emotion; he also penned each lyric with an overall feeling in mind. As I listen to Bon Iver, I get goosebumps and I know that is the feeling Justin Vernon wants me to have.

Bon Iver is currently my frontrunner for album of the year. Justin Vernon wrote a masterpiece and I suggest that you listen to it. Highly recommended.