SABLE, fABLE marks a bold return for Bon Iver
Album Review: Bon Iver’s “SABLE, fABLE”
Review: After six years since their last album, the band is back with a 12-track journey into emotional growth.
There is the band Bon Iver, and then there is the lead singer, Justin Vernon. It’s common to confuse the man with the band; after all, that bearded man who seems to live in a cottage definitely looks like he could be called Bon Iver. One thing nobody can mistake is the emphasis on his lyricism, a once-in-a-lifetime talent. Six years after their last album, the band has reunited to tell the story of a broken relationship, fame and reflection, supported by Vernon’s haunting voice, which serves as the poet’s narrative.
The album is divided into two parts: the first being Sable and the second Fable, both grappling with different aspects of the singer.
In Sable, after a 12-second instrumental that opens the album, an effortless transition leads into the first track, “THINGS BEHIND THINGS BEHIND THINGS.” With those words constantly repeated throughout the song, the feeling of the singer experiencing a panic attack starts to sink in. In it, Vernon desperately tries to escape his mind in hopes of finding clarity somewhere.
This first part of the album feels like the darker side, with the band grappling with feelings of isolation and despair. “Speyside” reflects on past mistakes; by referencing a whiskey region in Scotland, the song hints at maturation by acknowledging the errors without fixing them, but also implies the use of alcohol to fill old wounds. Then, “AWARD SEASON” opens with, “I can handle much more than I can handle,” which sounds like a mantra that helps Vernon survive success. The band found early success with their first studio album, For Emma, Forever Ago, but it not only brought them musical acclaim, but also a burden.
Then on fABLE, the album begins to shift. After the chaos and turmoil, the gentle piano keys from “Short Story” feel soothing. That blend of delicate electronic bleeps, piano and guitar is reminiscent of their best album, For Emma, Forever Ago. The song brings us back to the band’s roots while also opening a new chapter. After reopening old wounds, it’s time to focus on the bright future ahead.
A sense of tranquility washes over as the first ray of sunlight blends into the next song, “Everything Is Peaceful Love.” Be warned — the title and rhythm can be quite deceptive, as this is no typical love song. Instead, it’s a tender farewell. Vernon wrestles with a complex understanding of love and acknowledges his past mistakes, but he is now prepared to embrace all aspects of love.
“Walk Home” is perhaps the sexiest song from the band to date. With those little snares and his warm voice, Vernon pleads with his lover to stay inside with him. But since Vernon can’t do what the rest of us mortals can, his invitation sounds like this: “And we can let the light come in and we can shed your earthly burdens.” It’s safe to say no one would blame his lover if they capitulated to his plea.
As stated in some of my critiques, collaboration often falls short on an album. This time, I will hold my tongue, because how could one doubt Justin Vernon when he has already produced two masterful duets with Taylor Swift, “Exile” and “Evermore”? And now, “Day One,” featuring Dijon and Flock of Dimes, will likely end up at the top of my list when it comes to my favorite collaborations. Their three voices blend perfectly to discuss emotional unlearning and the need for harmony is evident (and they truly have the harmonies down on that track).
Bon Iver is not producing songs for the mournful winter; with “From,” the band wants you to enjoy your summer days. In this light track, Vernon is filled with hope. Now, with all the growth he hasn’t been writing about since the beginning of this album, he is the one guiding his lover and waiting for them. The band evolves not only musically, but also emotionally.
To continue their little tour, the group is opening their church to us with the song “I’ll Be There.” Featuring bluesy, jazzy sonorities and an embellishing chorus, Vernon vows to always be there for his loved ones. His commitment here feels sacrificial, as though he’s willing to give everything to ensure the well-being of another.
For those who aren’t aware, we are not only having a Lorde summer but also a Haim Summer, and it’s already starting. In “If Only I Could Wait,” featuring Danielle Haim, Vernon and Haim have an open dialogue, with him asking himself if it’s worth waiting and her pleading that it is. The duet speaks to the fragility of love and the endurance it takes to hold on when everything seems on the brink of falling apart.
“The Rhythm” stands out as the emotional peak of SABLE, fABLE. This isn’t just another track; it feels like a breath of fresh air. The strain that has built up throughout the album melts away here, giving way to a soft acceptance of Vernon’s journey. This song marks his evolution from the sharp electronic sounds of his earlier pieces to the comforting, soulful beats of fABLE. Ultimately, it brings a sense of tranquility.
The album wraps up with “Au Revoir,” an instrumental piece that gently signals a farewell. In this moment, Vernon’s title, SABLE, fABLE, carries a heavy meaning. It’s not really a conclusion but more of a goodbye to one chapter of life while holding onto the hope for what’s next. In French, we use “Au revoir” to imply a temporary separation, because we always hope for a return, just like the album itself. If Vernon lets go of his lover for now, he doesn’t lose hope of ever seeing them again.