Two years after the initial release of For Emma, Vernon published an update: a four-track EP by the name of Blood Bank. Clocking in at 17-minutes, Blood Bank was only a bite-sized follow-up, but one that was eagerly devoured by Bon Iver fans who were hungry for new music.

Bearing snow-covered album art, Blood Bank seemed to rekindle the same type of tender wintery feeling as Emma, and sure enough, the release starts off just as you would expect. Opener “Blood Bank” is a frostbitten love song of candy bars, a waning moon, and, of course, a fateful trip to the blood bank. “Beach Baby” is a post-breakup song that features a spiritual lap-steel guitar outro that personifies loss and contemplation. “Babys” is centered around an ever-mounting piano line with lyrics that bear almost as many exclamation points as a Sufjan Stevens song title. And finally, the EP’s fourth track “Woods” closes out the release and signals the first time Justin Vernon fully stakes his claim on the electronic embrace.

“Woods” is lyrically-straightforward, containing one verse repeated eleven times:

I'm up in the woods

I'm down on my mind

I'm building a still

To slow down the time

It’s interesting (and worth noting here) because the song contains almost no traditional instrumentation whatsoever. Initially singing straightforwardly, Vernon croons the first verse with a voice that’s dripping in autotune.

The second verse finds Vernon harmonizing with himself, singing the same words in two different styles with two different emotions. The third verse adds an additional take, and so on until a multitude of different vocalizations are all flowing and emoting simultaneously. By the time the song reaches the halfway point, ghastly echoes reverberate through the background of the track, and the vocals at the front of the song are singing with even more passion, pain, and expression. As the end of the song nears, the momentum has built to a fever pitch and the autotuned cries all fade out into total silence.

It’s a haunting and goosebump-inducing track. While “Woods” initially came across to me as the musical equivalent of a thought experiment (“let’s see how many times I can layer myself singing the same thing”), it ends up becoming a gut-wrenching and transformative piece of art. That’s probably why Kanye West tapped Vernon to close out his 2010 masterpiece My Beautiful Dark Twisted Fantasy.

Using the same lyrics as the original song, Kanye and Vernon use a similar emotional build on “Lost In The World” as a gateway to an explosive hip-hop beat laid over Vernon’s autotuned crooning and bombastic drums. This song paved the way for future hip-hop collaborations with Kanye, but also Vernon’s later electronic work.

“Woods” acted as a proof of concept that Vernon need not be tied to acoustic guitars, folk instrumentation, or even traditional song structures. Emotion and technology were enough.

Shifting Layers