We might imagine this astuary as a celestial threshold, with Vernon stuck straddling the material and spiritual realms it demarcates. Wordplay in “ 666 ʇ” stumbles on waundry: “Ain’t that some kind of quandry–waundry.” Waundry may join quandary, itself clipped here to the colloquial quandry, with wander, pointing to the existential situation of “looking for something but we don’t know what it is.” And on “ 8 (circle),” Vernon styles himself an “Astuary King.” Astuary seems to marry aster, Greek for “star,” and estuary, where an ocean meets a river. “ 29 #Strafford APTS” presents paramind after the first chorus, which we might take to mean “beside” or “beyond the mind,” an attempt to label an out-of-consciousness experience that accompanies loss. Dedicoding has the sense of reckoning with the attendant forces in his life, creative and destructive, through some devotional ritual. “ 10 d E A T h b R E a s T ⚄ ⚄” features “dedicoding every daemon,” which appears to blend dedicating with coding or decoding. His coinages sound like words taken from a metaphysics in a universe just one dimension removed from us. And Vernon does just that by literally forging a new vocabulary.
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PT.But seek we must, a fate the artist is condemned to, as Vernon knows well on 22, a Million: “I will run…Have to crawl,” he insists on “ 8 (circle).” If the language given to us is broken, then we must build a new one. There is another showing of the anniversary show on Saturday at the YouTube Theater, beginning at 8:30 p.m.
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With stunning lights and sound, it was a true celebration of Bon Iver 10th anniversary where Vernon pulled out all the stops. With “715 – CRΣΣKS,” his stark, a cappella confessional, Vernon was spotlighted in a fierce blue and with “Blood Bank,” the stage was lit in bright red with extra lights coordinated to move with the song, accenting its peaks and valleys.Ī mix of new and old songs from Bon Iver, the YouTube Theater show felt like Vernon’s way of saying welcome back. During tracks like “Perth,” the opener of Bon Iver, every instrument could be heard with sharp clarity, including the dual drum sections which can easily sound muddied.īon Iver's Justin Vernon Previews New Duet With Taylor SwiftĪlong with the sets crisp audio, the lighting direction was perfectly formatted to fit each song. Called L-ISA Hyperreal Sound, Bon Iver’s “Sincerely Grateful” celebratory shows feature ultra high resolution spatial audio that would make any audiophile grin.
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The audio company collaborated with the Wisconsinite to provide immersive sound technology. Titled “Sincerely Grateful,” it marked the artist/producer’s first shows post-pandemic, something Vernon acknowledged in between tracks with a laugh, “Hey, how was your last year?” After a string of cancellations around the world during 20, Vernon set was made especially breathtaking with help of L-Acoustics, whose speakers are used in-house at Hollywood Bowl, Coachella, Lollapalooza, and now the YouTube Theater. To commemorate one of his most beloved, career-altering albums, Bon Iver played the first of two shows Friday night at the brand new YouTube Theater at Hollywood Park. With Bon Iver, Vernon no longer was proving himself as he was with For Emma, by 2011, he was eager to embrace sounds never heard before. Now, 10 years later, Bon Iver’s self-titled work is remembered as a turning point for his career as an artist, even hinting at the experimental, formless direction his music would take later on, with 22, a Million and i,i. Bon Iver, Miguel Partner With New Platform for Immersive Art Exhibition