When indie folk band Bon Iver began a relentless social media campaign back in September of 2024, only to release an EP with three songs of substance, something seemed off. “SABLE,” was a sufficient return to the acoustic folk of the early days with just Justin Vernon on the project, but a brief showing for all the preceding fanfare. Certain oddities, like the lack of a second word after the comma, a continued social media presence and cryptic forest livestreams implied there was more to come.
The missing puzzle piece fell into place on April 11, with the release of “SABLE, fABLE,” the band’s fifth full-length album. The first disc, “SABLE,” contains the four tracks from the respective EP, while the second disc comprises all new material. It’s Bon Iver’s most colorful work, fully embracing art pop with soulful vocal performances without completely abandoning their folk roots.
During an interview on “The Tonight Show,” Vernon said he wanted the material separated because of the tonal differences between the songs. Where “SABLE” is heavy with melancholy reflection about the past, “fABLE” is a bright, optimistic projection of the future.
The first new track, “Short Story,” leaves the darkness behind and embraces the light, with Vernon reassuring the listener “That January ain’t the whole world.” The band repurposes the blend of electronic and folk instrumentation used on their 2019 album “i, i,” adopting glittering piano keys, spacey synths and pitched up vocals to gently lift listeners into a content headspace. A brief verse and backing vocals from Kacy Hill help amplify the euphoria.
The rejuvenating opener flows right into “Everything Is Peaceful Love,” the lead single for the album. It’s the band’s catchiest and most carefree undertaking, with Vernon’s layered vocals professing the unmatched happiness brought by love. Each chorus sees his singing and the accompanying violins rising in pitch, the key to the revelatory impression. The digital percussion patterns shift around, lending the song a danceability that’s rarely seen in their music.
Things slow down on “Walk Home,” a sappier cut about romantic companionship. High-pitched vocal samples flare up along the way, adding variability and warmth to the track.
The following “Day One” uses similar sample techniques and features singing from Dijon and indie artist Jenn Wasner, of Flock of Dimes. When the two artists sing alongside Vernon, they sound reminiscent of spirituals with their talent and conviction as they send a desperate call to a lover.
The string of features continues on “From,” where Mk.gee lends his recognizable guitar playing while Jacob Collier adds backing vocals. Their contributions foster a laid-back atmosphere and make it relaxing to listen to. The affectionate theme continues, strengthened by Vernon’s delivery in the bridge, where his voice rises with passion before diffusing into the autotune splendor of the final chorus.
The production on “If Only I Could Wait,” the seventh track, inflicts a slight reverb on the soundscape, evoking a floating feeling. It complements the crooning saxophone that drifts in and out of earshot and the whacking snare setting the rhythm. The reassuring and dense blend of sound ends up feeling like a warm, comforting hug.
Danielle Haim, lead vocalist of HAIM, joins Vernon in singing, with their different styles bouncing off each other. As the bridge develops, Vernon expresses his personal growth, saying “I have come to learn replace / And I resemble other traits of the lord.”
The penultimate “There’s A Rhythm” sees Vernon at peace with his current situation, having found a rhythm that works for him. It’s a direct response to the uncertainty and need for change expressed on “SABLE.” But it’s now just the past to him, as he sings, “Ya know I’ve really no more shame / Now things really are arranged.”
Besides choir vocals occasionally popping in, the production and Vernon’s are subdued and casual, lacking some of the autotune-induced urgency and endearment elsewhere on the album. It’s a fitting choice, both to show Vernon’s restful state and allow listeners to grasp the calming ebb and flow rhythm he found.
The album ends with “Au Revoir,” a brief, pretty instrumental that works as a fitting farewell to the soulful flourishes beforehand. As the final piano and synth notes whittle off, listeners are left with a smile on their face, before it transitions to the wordless “…” of “SABLE” and the cycle begins again.
While the decision to combine “SABLE” and “fABLE” can sound off on dedicated listens, due to their distinct sounds and each working as a fully individual project, their fusion fosters a connectivity that could be otherwise lost. The forlorn power of “SABLE” informs the reflective roots of its latter half and helps make the ending peace even more rewarding.
Fans of Bon Iver who appreciate their reflective approach to songwriting and despondent sound may be caught off guard, or disappointed, by the optimistic display on the second disc. But considering the band’s gradual acceptance of more pop-centric moments on each release, this realized metamorphosis of warmth has been a long time coming.
Rating: 4/5