Bon Iver has come a long way since their debut album “For Emma, Forever Ago,” released in 2007. What started as Justin Vernon’s project after secluding himself in a cabin, became one of the most popular and experimental indie folk bands of this century. The melancholic and rustic folk Bon Iver began with expanded and diversified with each release. Electronic production and autotuned vocals replaced the acoustic guitar, a move that reduced accessibility but increased the band’s adoration from critics and fans alike.
In 2019, Bon Iver released “i, i,” a record that blended their sonic styles and concluded the seasonal cycle their first four albums followed. It was the end of an era that made fans wonder what the band would sound like next. Vernon’s wildly different contributions to songs like “exile” by Taylor Swift and “MY EYES” by Travis Scott over the last few years only increased intrigue. Now, five years later, Bon Iver has an answer.
It came on Oct. 18 in the form of “SABLE,” a four-track, 12-minute-long EP. The album is a return to Bon Iver’s roots, where Vernon picks up his guitar and reminds the world of the acoustic approach that made the band famous in the first place. A statement on the band’s Spotify page divulged Vernon’s inspiration and the dark place he was in while making the project: “These songs are reflections of unfinished business, of guilt and anguish.”
The EP opens with “…,” 12 seconds of a single sustained note with a small swell towards the end. While it’s not much, it still makes for an interesting transition into the first real song on the project.
The next track, “THINGS BEHIND THINGS BEHIND THINGS,” is the most energetic on the EP. It kicks off with some soft, free-flowing drums before guitar takes the instrumental forefront. Vernon laments the depth of his anxiety and struggles, so momentous that they feel debilitating. His double-tracked vocals and fluid delivery make some lines sound like chants, amplifying the emotional weight of the lyrics. Steel guitar makes multiple appearances throughout the track, a nice touch that contributes to the forlorn sound.
Bon Iver continues the pensive gloominess with “S P E Y S I D E,” the lead single for the EP. It’s the simplest and quietest track on the record, comprised almost entirely of Vernon’s untouched vocals and acoustic guitar. Regret imbues the song, with Vernon meditating on past wrongdoing, hoping he can change. “And I hope you look / As I fill my book / What a waste of wood,” he croons on the second verse, a self-deprecating invitation for the wronged person to witness his remorse. At the halfway point, strings come in and build with the guitar before Vernon lets out an anguished wail. Everything about the song contributes to a profound sense of sorrow, the perfect spiritual successor to “For Emma, Forever Ago.”
The EP concludes with “AWARDS SEASON,” the longest song with a runtime of over five minutes. It sounds desolate and resigned at first, with Vernon singing softly without accompanying instrumentals. But as the song progresses, piano, guitar and synthesizers, among other instruments, make discreet appearances, adding texture and depth. A beautiful saxophone joins the fray for a euphoric instrumental surge after the second verse that goes on for half a minute.
Unlike the other two tracks, Vernon is more optimistic here, even though he’s focusing on an ended relationship. Loss does not dominate the song, instead he expresses gratitude for what he once had with this person. Thematically, it mirrors “re: Stacks,” the closing track for “For Emma, Forever Ago,” which also focuses on the process of moving on from a relationship. Vernon’s leaves the listener with a bittersweet reflection on what couldn’t be and what he still has: “But you know what will stay? / Everything we’ve made.” There’s some silence that follows, before a sustained synthesizer note kicks in that flows back into “…”.
“SABLE,” is an enjoyable, albeit brief, return for Bon Iver. Fans of the wintery solitude flaunted on “For Emma, Forever Ago” should rejoice, as this project is the most Bon Iver has channeled that style in over a decade, even if it’s not as potent. However, those who are emotionally connected with the band’s folktronica endeavors may feel a bit underwhelmed, as the rest of the band’s discography contains a handful of songs more fulfilling than these four.
Rating: 3.75/5