I Remember Something: A Review of Bon Iver's 715 - CRΣΣKS from 22, A Million

by Julia Medina

"715 - CRΣΣKS," the third song on Bon Iver's comeback album 22, A Million, carries themes central to the record while balancing new technology, lyrical importance, and visceral power. Justin Vernon, the voice and brain behind Bon Iver, is featured alone as he weaves an obfuscated tale of feeling misplaced and trapped, as his time with his love runs out too soon.

At just over two minutes long, the song demands attention; it causes pause. Vernon alone is present on track, singing each line with meaning and intent. The uncomplicated but poignant melody acts as a vehicle to the poem-like lyrics. His only companion his harmonized voice, like a one-man a cappella performance. Listened to on its own, it seems incomplete, or at least abbreviated. It is emotionally tumultuous and, then, it is gone, ended by Vernon pleading, "God damn turn around now, you're my A Team," a loaded request, at the very least. However, the track does not sit on its own. "715 - CRΣΣKS" bounces off the controlled chaos of "10 d E A T h b R E a s T ⚄ ⚄" and is followed by "33 "God"", which is arguably the most intense, heavily orchestrated song of the album. In fact, sandwiched between "10 d E A T h b R E a s T ⚄ ⚄" and "33 "God"," both of which were released prior to the album as singles or B-Sides, "715 - CRΣΣKS" almost seems like it could act as a transition track. But the emotional weight of the song is not negligible and it plays as important a role as any other track on the record. The dancing piano opening of "33 "God"" serves as much needed relief after "715 - CRΣΣKS."

Unlike much of Bon Iver's previous music, lyrics are key with this album and particularly in "715 - CRΣΣKS." With For Emma, Forever Ago and Bon Iver, lyrics were secondary to vibe. They could be found in the booklets that came with a physical purchase of the record, but were nearly indiscernible aurally, even when listening closely. With "22, A Million," words take the front seat. Vernon released lyric videos for every song on the record, each one created by graphic artist Eric Timothy Carlson. In this way, lyrics are pushed into the conversation, strengthening through Carlson's art. The video for "715 - CRΣΣKS" shows the words typed along as they are performed, correcting typos along the way and adding caps lock here and there for emphasis. "In B, un-rationed kissing on a night second to last / Finding both your hands as second sun came past the glass," Vernon sings, lamenting two days of bliss come to pass. Then, with intense crescendo, "And oh, I know it felt right, and I had you in my grasp." Who among us hasn't felt love slip through our fingers--a span of two days (or weeks, or months) where happiness seemed attainable, but then the illusion faded? A concept that could easily turn cheesy is devastating in Vernon's care - each line is an emotional strike, punctuated by unsullied silence.

The titles of "715 - CRΣΣKS"  and "Fall Creek Boys Choir," a single Vernon released with James Blake, suggest a connection between the two songs and their melodies are comparable at certain parts of each song. "Fall Creek Boys Choir" also shares the theme of heartbreaking loss. In the chorus, Blake and Vernon lament, "I've been down to the open road / And we both end up alone (and if only we could have known)." But the parallels end there; "Fall Creek" is about twice as long and comprises only one verse, hook, and chorus, each repeated several times. With no verses or chorus, only the phrase "I remember “something" and the plea for the return of his A-TEAM at the end of the song are repeated in "715 - CRΣΣKS." Ultimately, the connection suggests the importance of "715 - CRΣΣKS" to Vernon as a development of his previous work.

"715 - CRΣΣKS" also carries a distinct connection to Bon Iver's 2011 song "Michicant." The melody, while not the same, has moments of distinguishable similarity. This harkening back to his eponymous album adds a welcome recollection of Vernon's musical past, since 22, A Million is such a departure for him. This album is not a return to form: his classic falsetto is no longer omnipresent on this record, and the pervasive sense of sweet nostalgia found on Bon Iver and For Emma does not make a reappearance. His characterizing harmonies remain, but they have changed in nature. 22, A Million relies heavily on the Messina, a piece of software developed by Chris Messina, Vernon's sound engineer, which harmonizes voices and instruments in real time.

The Messina is key in this song and is, in fact, the only instrument used, if it can be referred to as such. It allows "CRΣΣKS" to achieve the effect of a sort of robotic gospel choir. Compounded by religious themes in the lyrics, the use of the Messina adds an air of gravitas to the track. There is something poetic about the fact that Vernon is performing utterly alone, harmonizing with himself. In fact, without a chorus or repetition, the song is heard like a poem put to music. The lack of complementary instrumentation  underscores this effect.  Revealingly, the lyric video ends with the words "Deus ex Messina." "Deus ex" is Latin for "god of."

"715 - CRΣΣKS" is an interesting song in its relationship with the other songs on the record and in comparison to Vernon's earlier work, but the song is also incredibly powerful on its own. Listening to it truly is an experience. Vernon's words, emphasized by his pining voice make his emotion palpable. "CRΣΣKS" tells a story of turmoil and conflict, of love found and, subsequently, lost, and of being left behind "in the reeds."  For me, Bon Iver is all about turning pain into beauty, which he demonstrates aptly with this song. His work is famously fueled by heartbreak, recorded alone in a cabin after a breakup, like an emo version of Thoreau's time at Walden. He began using falsetto originally because singing out of his register allowed him to express things that were too painful to sing about in his regular voice. His suffering resulted in two of the most beautiful albums I have ever heard. In that sense, Bon Iver is back with 22, A Million, and perhaps most profoundly in "715 - CRΣΣKS."