New Bon Iver Album Ranks Among Their Finest

The titles of the songs provide insight. A Bon Iver album tends to feature intricate names that can be challenging to decipher. Since 2016’s 22, A Million, Justin Vernon’s albums have been filled with numbers and symbols that resemble a cryptic message from a serial killer rather than a list of song titles. Pronounceable words are scarce in his tracklists. However, this enigma adds to the allure of the songs. Even on a record by one of indie-rock’s biggest stars of the past two decades, the music remains enigmatic and elusive, reflecting the artist’s persona.

In the latest Bon Iver album, SABLE, fABLE (the fifth in the discography and the first one in six years), the song titles are surprisingly understandable. While tracks like “Speyside,” stylized in all caps with spaces between each letter, and “There’s A Rhythmn” with the intentional misspelling may still confound, notable is the duet with Danielle Haim titled “I’ll Be There.” Seeing Vernon title a song with such normative language is akin to an unusual departure from his eccentricity. Despite the conventional title, the track is an art-rock love song with soulful vocals and church-like chords, reminiscent of artists like Luther Vandross, Godley & Creme, and Peter Gabriel. The collaboration with Haim adds a warmth and sensuality that transcends the expected distortion and disordered rhythm.

Vernon hinted during the press tour for SABLE, fABLE that this album could mark the end of Bon Iver. His label, Jagjaguwar, described the record as an “epilogue,” hinting at the ambiguous future of the project. Throughout Bon Iver’s discography, Vernon’s ambivalence towards the project’s popularity has been evident, with each subsequent album revealing his complex relationship with fame. What stands out about Vernon’s music is his emphasis on sound over literal words. While his lyrics may seem nonsensical on paper, they effectively convey emotions and truths when sung, showcasing his artistry and influence on contemporary music.

With SABLE, fABLE, Vernon seems to embrace a newfound comfort within his artistry, reflecting a more straightforward approach to his music. Songs like the opening track “Things Behind Things Behind Things” capture this shift towards a more grounded sound and natural vocal register, deviating from his signature falsetto. The album displays a mix of soft rock and gospel-Americana that channels influences like Bruce Hornsby. Vernon’s evolution from his early career to the present, exemplified by his decision to embrace his authentic voice, underscores a pivotal moment in his musical journey.

Discussing his latest album, Vernon expressed a desire to shed his previous ambiguity and embrace a more direct approach to his music. Comparing his new sound to Bob Seger’s straightforward style, he emphasized the importance of living in the present and embracing sensuality. While SABLE, fABLE differs from his previous album i,i in terms of intimacy and production quality, it exhibits a rawness and lo-fi aesthetic that adds an element of authenticity to the music, reflecting Vernon’s continuous evolution as an artist.