meta-scriptBon Iver Announce Fourth Album 'I,I,' Release Two New Songs | GRAMMY.com
Bon Iver Announce Fourth Album 'I,I,' Release Two New Songs

Justin Vernon of Bon Iver

Photo: Gus Stewart/Redferns via Getty Images

news

Bon Iver Announce Fourth Album 'I,I,' Release Two New Songs

The band, led by Justin Vernon, released two new songs, "Faith" and "Jelmore," along with the album announcement

GRAMMYs/Jul 12, 2019 - 03:06 am

GRAMMY-nominated indie-folk band Bon Iver has announced their first album in three years. Titled i,i., the fourth album follows 2016's 22, A Million and will be out on Aug. 30.

The band, led by Justin Vernon, also released two new songs, "Faith" and "Jelmore," with the announcement. The songs feature collaborations from Buddy Ross, Francis Starlite, the Brooklyn Youth Chorus with Bryce Dessner, Camilla Staveley-Taylor, Jenn Wasner, Rob Moose, and others, the band said in statement on their website. The 13-track record also features collabs with James Blake, Aaron Dessner, Bruce Hornsby, and Velvet Negroni, according to Pitchfork.

The band previously released "Hey, Ma" and "U (Man Like)" in June.The group recorded the album in Wisconsin's April Base and Texas' Sonic Ranch. "It allowed us to feel confident, comfortable, and completely free of distraction," the band said about their choice to record in two locations. 

They continued: "The sense of community around the record grew through honest, generous inspiration within the group of artists involved in the creative process of the record. The 13 new songs on i,i complete a cycle: from the winter of For Emma, Forever Ago came the frenetic spring of Bon Iver, Bon Iver, and the unhinged summer of 22, A Million. Now, fall arrives early with i,i. "

Pre-oder the album here

ReImagined Returns With More Exclusive & Unexpected Cover Performances All Summer Long

On 'Tigers Blood,' Waxahatchee Walks The Slow And Steady Path To Indie Rock Stardom
Katie Crutchfield

Photo: Molly Malaton

interview

On 'Tigers Blood,' Waxahatchee Walks The Slow And Steady Path To Indie Rock Stardom

Bandleader Katie Crutchfield discusses new LP 'Tigers Blood,' collaborating with Wednesday guitarist MJ Lenderman, and why you’ll be hearing more twang in indie rock.

GRAMMYs/Mar 25, 2024 - 01:29 pm

It’s a special feeling, knowing you’re still getting better, 20 years into doing whatever it is you’re good at. “I identify my career as a bit of a slow burn,” says Katie Crutchfield, chatting from her home in Kansas City, Missouri. 

Tigers Blood, Waxahatchee’s sixth LP, arrives March 22 on Anti- Records. It sounds earthy and time-tested, hugging the border of alt-country and indie-folk. Pedal steel and banjos are just as welcome as electric guitar. Lucinda Williams, Townes van Zandt, and Gillian Welch are its musical north stars. Lyrics evoke late-night banter with old, trusted friends, the small handful of people in this world you could say anything to. 

Crutchfield has been writing songs for 20 years and, even as a teen, was perhaps the most respected voice in her Alabama punk scene. By the early 2010s, the same could be said of her place in DIY-minded rock, nationwide. Released March 27, 2020, Waxahatchee’s Saint Cloud, will be remembered as her breakthrough, though it certainly did not feel that way initially. For Crutchfield, the album still brings to mind bushels of COVID masks and days upon days spent indoors.

"There were phases of grief," Crutchfield says. "I was grieving the [canceled] tour, the normal experience of putting out a record. My therapist suggested I have a funeral for it." She says all this with a chuckle — one that comes easier after the success Saint Cloud eventually earned: a No. 1 on Billboard’s Heatseekers albums chart, significant radio play for the first time in her career, a spot at Newport Folk Festival once pandemic restrictions eased. “In hindsight, I know that record provided solace for a lot of people.”

Like Saint Cloud, Tigers Blood was produced by Brad Cook, an alt-rock standby whose production and co-writing work with Bon Iver earned him nominations for Album Of The Year and Record Of The Year at the 2020 GRAMMYs. "[Brad and I] developed this language and life philosophy as collaborators that I am not finished with," Crutchfield says.

Tigers Blood separates itself with one new, notable collaborator: singer/songwriter MJ Lenderman. Through his storytelling solo albums and cathartic guitarwork in the North Carolina band Wednesday, Lenderman, 25, is already a Gen Z indie rock icon. His contributions to Tigers Blood are subtle, but affecting: hazy backing vocals on the title track and "Right Back to It," artistry on his six-string that left Crutchfield in awe: "There are so many moments on [Tigers Blood] where I’m like, That’s the hookiest guitar part or solo. I never would have put it there without him."

Speaking with GRAMMY.com, Crutchfield looked back on how she arrived at Tigers Blood and the many stops along the way: showcasing her high school band for the guy who signed Nirvana, learning to re-embrace her Southern-ness, staying the course when you know, deep down, it’s the right thing to do. 

For artists today, I feel there’s this pressure to be constantly reinventing yourself. Is this something you’ve noticed?

Contemporarily – maybe this is a thing in pop – there’s a real pressure to reinvent yourself on every record as you move through your career. I’ve certainly done that. And I’ve certainly felt that. Brad [Cook] and I had a conversation about this very thing: What is the next thing going to be? Should we pivot to a new style?

It really brought us to my heroes. None of them ever reinvented themselves. A lot of them worked with the same people. Tom Petty, for example, played with a lot of the same musicians for his entire career. 

The confident choice is to retain some self-awareness about why people liked the last record, and to hang onto that. Then, to depend solely on the songs. Do whatever we can to elevate the songs. 

How did Tigers Blood come together, compared to the last LP?

It came together quickly and a lot of it was on tour. I had a lot of writer’s block working on Saint Cloud. The narrative of that record was that I had just gotten sober. I was experiencing a lot of anxiety. A friend told me, “When you get sober, you’re not gonna recognize yourself.” That was really true. I was like a raw nerve. I kind of had to take a long time off from touring, to catch my breath and figure out what my life was going to look like. Throughout that 18-month period of time off, I slowly wrote [Saint Cloud]. 

I started writing the melodies for Tigers Blood right after we made Saint Cloud, and continued to for several years, as I worked on other projects like the [2022] Plains record [in collaboration with singer-songwriter Jess Williamson]. In the peak pandemic months I was stowing away melodies, like, I’ll come back to this. I finished all the Tigers Blood songs in about a six-month period, a lot of which was on the road. When I say I finished a song, it means I wrote all the lyrics.  

*Releasing an album like Saint Cloud, I imagine you might be worried it would just be labeled as “the sober record.” Looking back at how well it was received, it feels like much more than that.*

I hope this doesn’t land wrong on music writers, but in a way it’s sort of easier for me when there’s a narrative. I think it’s sort of easier for everyone. Tigers Blood doesn’t have a clean-cut, neat little narrative. There’s a lot of things going on. 

I was writing about a lot of different things on Saint Cloud, too, but [sobriety] was the headline, and it made life easier to have a headline. I always knew there was more going on than just sobriety. I don’t write lyrics in a way that’s very on-the-nose. Someone could maybe listen to that album and have no idea it’s about sobriety. There’s a couple love songs on that record: “The Eye” and “Can’t Do Much.” And “Lilacs” is about being in a bad mood. It’s not really about being sober. 

If you don’t mind me asking, what made you want to get sober?

Everybody’s story is different. Mine isn’t particularly salacious. Over a decade, I had noticed that, for me, drinking had a weight to it that it didn’t have for everyone I knew…

I got sober when I was 29. I was getting a little bit older and my physical health was starting to catch up to me, and certainly my mental health [as well]. Some alarm bells were going off: I actually think the biggest issue in my life is drinking and if I cut that out, I’m curious if everything will balance out. And it really did. 

In June, it’ll be six years since I quit. I definitely feel like a way different person now, but I don’t even remember how I felt six years ago. I can’t really remember myself as a drinker. A lot has changed in my life. I live in a different city. I have a lot of different people around me. 

You’ve lived all over and it’s so intertwined with your music. Could you give me the whole story? 

I grew up in Birmingham. When I was 19 or 20, I moved to Tuscaloosa, Alabama – my sister Allison was going to college there and our band P.S. Eliot existed there for a short time. Then she moved to Chattanooga, Tennessee and I moved back to Birmingham for a few years. Then we both moved to New York when we were 22. I’d made the first Waxahatchee record right before that and she had just started her band, Swearin’. 

I tell you her story, too, because they’re so intertwined. We lived in New York for about 18 months. At the time, [Allison], her boyfriend, and my boyfriend were all in Swearin’. They [decided to] move to Philadelphia and I was kind of sad — I really wanted to stay in New York — but that was my family, so I was like, “I guess I’ll go with you guys, because I’d be alone here.” So I was in Philly for a few years, then I made my [2015] record Ivy Tripp while I was on Long Island for about a year. Then I moved back to Philly for three years, moved back to Birmingham briefly, and then to Kansas City, where I’ve been ever since. 

You started playing in bands with your sister Allison when you were teenagers, 20 years ago. How has that shaped your relationship with her? 

When she was in my band, it was tricky. Because we’re siblings, it’s crazy how boundaryless that relationship can be in a working setting. It was a little chaotic at times. But ultimately, really great. I’ve always kind of made my songs for myself, and Allison. That’s always been my prime audience: if we really like it, I usually trust the rest of the world might like it, too. 

Now she’s such an important part of the people around me, guiding me. We’re in the best place we’ve ever been, even though she’s not in the room when I’m making the records.

From the outside, the trajectory of your career – to bigger stages, bigger record labels, etc. — seems like it’s gone at a nice, measured pace. Does it feel that way to you? 

Yeah. I’m really grateful for the pace my career has gone at. I’ve seen things blow up overnight for some of my peers. As exciting as I’m sure that can be, I think it would be pretty disorienting. There have been moments in my life where if that had happened, I think I would have been completely swallowed up by it. I’m happy at this point in my life. For the most part, every door that opens up in my career, I’m ready to walk though it.

Are there any doors you’ve chosen not to go through over the years? 

When I was in high school, my band performed at this showcase for Gary Gersh, who [famously signed Nirvana], this big time music biz guy. It was us and this other band in Birmingham, who were the two most popular younger indie rock bands in town. I don’t know if they got his attention, but we didn’t. 

I look back on that, and that’s probably for the best. If I had gotten this hotshot L.A. manager when I was 16, my life could look really different. I could have maybe signed on for things that wouldn’t be reflective of the values I’ve developed. My songwriting voice had not really developed yet. It’s probably good I took the slow route. 

If you’d been offered that management deal, what do you think you would have said? 

We were pretty punk rock already. I can see us saying, “We don’t really want to do this.” Allison and I had pretty developed tastes for 16-year olds. 

Collaborating with MJ Lenderman on this album – how did that come up?

I heard his music at South By Southwest. [My partner] Kevin [Morby] was playing South By, he was busy, and I was killing time. My sister Allison does A&R at Anti- [Records] now and my producer Brad Cook, they both texted me at the same time: “We’re gonna go see this guy, MJ Lenderman from North Carolina. Come meet us, you’re gonna love this.” I heard his voice outside the venue [and thought] “This is exactly what I like.” There were 12 people onstage, they had a pedal steel player. Everything I love. 

Then, Brad and I were trying to figure out what we could do [for my next album] that would be different from Saint Cloud. So I threw it out to Brad: “Maybe we could get [MJ] in the mix.”… Brad invited him to the first session. The three of us had a blast. [MJ] played drums for a lot of it, and obviously guitar. When we tracked “Right Back to It,” that was a big turning point. Brad and I were like, “This is a great anchor for what this record should be.” And when [MJ] sang backup on it, it was all over. We had to have him be a big part of the record. 

What grabs you about MJ Lenderman’s playing? 

[MJ] is really into a lot of music I love, but wasn’t engaging with much at the time. Specifically Southern alternative rock from the ‘80s and ‘90s: Drive-By Truckers, Sparklehorse. Jason Molina is a big influence on him. And it really invigorated my love of R.E.M. It knocked out the cobwebs for me. 

I knew he was a great guitar player, but I didn’t totally understand just how special and creative a guitar player he was until we were in a room together.

And MJ’s band, Wednesday – their 2023 album Rat Saw God already feels like a classic. What do you think of that album? 

I spent a lot of time with it. It was one of my favorite records of last year. 

I try not to go too hard with this to [Wednesday], but my sister Allison and I connect with what they’re doing because it reminds us so much of ourselves 10 years ago. Wednesday and MJ, they’re these intertwining creative forces. They’re young, they’re Southern. I think both Wednesday and MJ are making some pretty classic records that teenagers are gonna find for years to come. 

Do you think there’s something unique about indie rock musicians who grew up in the South, around country music? 

I grew up in the South and I’ve been on a journey with it. When I was younger, I lived in the Northeast and that was a big part of my identity — I really rejected country music. I did not think it was cool. Once I was able to come back around on that, not even wholeheartedly embracing being Southern, but accepting it as a part of my story, [the South] lent itself as a great backdrop for my songs. 

Jeff Tweedy & Cheryl Pawelski Sit Down For "Up Close & Personal" Chat: 'Yankee Hotel Foxtrot,' Writing One Song & More

GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Kendrick Lamar

Photo: Jeff Kravitz/FilmMagic

video

GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

GRAMMYs/Oct 13, 2023 - 06:01 pm

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

10 Essential Facts To Know About GRAMMY-Winning Rapper J. Cole

ReImagined: Alé Araya Puts An Atmospheric Spin On Bon Iver's "Holocene"
Alé Araya

Photo: Courtesy of Alé Araya

video

ReImagined: Alé Araya Puts An Atmospheric Spin On Bon Iver's "Holocene"

Chilean artist Alé Araya uses her laptop, synthesizer and a well-worn piano to create an enchanting new version of Bon Iver's GRAMMY-nominated hit "Holocene."

GRAMMYs/Sep 26, 2023 - 05:00 pm

Bon Iver's breakout moment came in 2011 with the release of "Holocene," the second single off the indie rock act's sophomore album Bon Iver, Bon Iver.

"And at once, I knew I was not magnificent/ Strayed above the highway aisle/ Jagged vacance, thick with ice/ But I could see for miles, miles, miles," frontman and founder Justin Vernon sang in floating falsetto on the song's chorus, over the strum of acoustic guitar and gentle percussion.

In this episode of ReImagined, Chilean artist Alé Araya turns the delicate track into a wistful piano ballad. She shows off her many musical talents as well, pivoting between her laptop, synthesizer and a well-worn upright piano as her crystalline vocals tie everything together.

Bon Iver earned dual GRAMMY nominations for both Record Of The Year and Song Of The Year for "Holocene" the following year. While both of those awards went to Adele's "Rolling in the Deep," Vernon and co. ultimately took home two other trophies — for Best New Artist and Best Alternative Music Album.

Araya is having a breakout year of her own in 2023, recently releasing her debut EP, in pieces, which featured collaborations with greek ("Endless Sky"), aisu ("Citrine") and Joseph Chilliams ("Midnight Gospel"). She also joined forces with honey and Vrdnyn on the collaborative 2023 single "Prada Princess."

Press play on the video above to watch Araya interpretation of Bon Iver's fan-favorite single, and check back to GRAMMY.com for more new episodes of ReImagined.

The National's Aaron Dessner Discusses New Album 'First Two Pages Of Frankenstein': "The Beginning Of A New Chapter"

7 Sets From Pitchfork Music Festival 2023: Killer Mike, The Smile, JPEGMAFIA & More
Leikeli47 performs during the first day of Pitchfork Music Festival 2023

Photo: Barry Brecheisen/Getty Images

list

7 Sets From Pitchfork Music Festival 2023: Killer Mike, The Smile, JPEGMAFIA & More

Even lightning couldn't stop Chicago's beloved Pitchfork Music Festival — at least not for long. Revisit seven of the most memorable moments from Pitchfork 2023, from Jockstrap's ethereal performance to Leikeli47's audience turn-up.

GRAMMYs/Jul 26, 2023 - 03:59 pm

Pitchfork Music Festival is a Chicago mainstay, taking place in Union Park since 2006. The annual event — which boasts more than 40 bands over the course of three days — hosts around 60,000 attendees as well as legends including the Isley Brothers, LCD Soundsystem, Erykah Badu, and The National. Over the past decade-plus, the festival expanded to Paris, Berlin and London.

From July 21-23, the 13 acre park provided a modest backdrop that rotated an array of talent from various genres. The Smile, Perfume Genius and Alvvays performed on day one of the festival. However, the second day of Pitchfork was marred by lightning, which forced attendees to temporarily evacuate the park. 

Upon their return that evening, folk facet Big Thief delivered a tender set of epic proportions. On Sunday, Kelela enchanted onlookers with ethereal vocals and Bon Iver provided emotional renditions of some of his most notable hits. 

Here are seven of the most unforgettable moments from Pitchfork 2023.

Killer Mike Takes Everyone To Church

In June, Killer Mike released his first solo album in 11 years, Michael. Though he has been making music alongside El-P as one-half of Run The Jewels for the last decade, Killer MIke's refreshing return to form on his latest project was both galvanizing and long overdue. 

Not only did he take us to church on Michael, but he boldly brought his sermon to Pitchfork. Killer Mike — who donned all white attire to match his accompanying choir — gave an excited crowd a poignant performance. From the dynamism of "Down By Law" to the resilience of "Run," the emcee gave his all to some of his most devoted fans. Hearing his voice crack during "Motherless" reminded the audience that even the strongest griot needs love and community.

Leikeli47 Gets The Crowd To Strike A Pose

Leikeli47's discography is full of audacious anthems that place women — and their bodily autonomy — front and center. In recent years, the Brooklyn emcee’s songs have taken on new meaning and life, which was very apparent on Pitchfork’s Blue stage. 

Leikeli47 not only brought a fierce attitude while giving the crowd renditions of "Look," "Miss Me" and "Wash & Set," but she invited fans onstage to strike a pose alongside her. Whether they were voguing, twerking or jumping, those lucky audience members did exactly what Leikeli47 wanted them to: enjoy the moment without thinking too much about it. 

The Smile Basks In Psychedelia

Thom Yorke could live in Radiohead reverie forever and still remain one of music’s most vital auteurs. However, by forming the Smile, he doubled down on pushing the boundaries of his ingenuity alongside fellow Radiohead member Johnny Greenwood and drummer Tom Skinner. The group's debut album, A Light For Attracting Attention, was released in 2022 and predictably met with acclaim.

During their Pitchfork set, saxophonist Robert Stillman livened up "Pana-Vision," "Colours Fly" and "People on Balconies." Yorke ended a night saturated with psychedelic sounds with "Feeling Pulled Apart by Horses," reminding the audience of his creative depth.

JPEGMAFIA Riles Up The Audience

The energy JPEGMAFIA brings to the stage is downright manic, and his time at this year’s Pitchfork Music Festival was no different. The electrifying musician balanced his offerings of solo hits ("Jesus Forgive Me, I Am a Thot," "1539 N. Calvert")  with songs from his collaborative album with Danny Brown, Scaring The Hoes ("Steppa Pig," "Garbage Pail Kids"). 

Even when Peggy poked fun at the event by calling it "Conde Nast Fest," he still expressed gratitude to everyone in attendance. He also did a mean cover of Carly Rae Jepsen’s "Call Me Maybe" sans autotune after an audio malfunction, proving himself to be a true artist.

Jockstrap Effortlessly Enchant The Audience 

All of the hype surrounding Jockstrap, which praises the electro-pop pair’s ability to concoct dissonant yet riveting melodies,, to proven to be warranted. The UK pair's eclectic debut album, 2022's I Love You Jennifer B, featured an 18-piece orchestra and voyages into experimental territory which can be tricky to pull off in a live capacity. However, Jockstrap were more than up for the challenge. 

Vocalist Georgia Ellery strutted her best dance moves as she donned gold lamé, oscillating between singing and captivating the crowd with her violin skills. Songs like "Debra" and "Glasgow" were as enchanting as they were impressive.

JLIN Turns The Stage Into Her Creative Zone

Jlin has managed to take her immense love of music-making and transform it to an experience that is thrilling both visually and sonically. At Pitchfork Fest, the Pulitzer Prize-nominated musician transformed the Blue Stage into her own personal studio. 

The Indiana producer recently announced that a mini-album featuring electronic versions of her songs, Perspective, will be released in September. She treated Pitchfork's audience to a preview of the project by including the hushed yet accentuating rhythms of  "Fourth Perspective" in her set, but Jlin executed it with such intensity that it reminded everyone just how much of a master she is at her craft.

Soul Glo Gets The People Going

This Philly facet formed in 2014 and quickly elevated hardcore punk into an even more complex genre. Named after a fictitious commercial in the classic film Coming To America, Soul Glo brashly combine rap, metal and screamo for an exhilarating sound. 

At Pitchfork, they made sure that mosh pits were galore as the electrifying trio completely dominated the stage. Songs like "GODBLESSYALLREALGOOD" showed off not just the excitement the trio manage to drum up in listeners, but the emotional turmoil they embed in their catalog. Whether it’s growing up or growing apart, the discography of Soul Glo encapsulates an assortment of experiences.

Behind The Scenes Of The Eras Tour: Taylor Swift's Opening Acts Unveil The Magic Of The Sensational Concert