Justin Vernon struck gold with his fifth studio album, “SABLE, fABLE,” which takes the top spot for Bon Iver’s — Vernon’s long-standing solo musical project — most introspective work yet. The transition from songs in “SABLE,” to those that constitute “fABLE” reveal a deluge of emotion that is unabashed and brought to life by incredible production.
One of the album’s first introductions to the world was through the release of “SABLE,” in October 2024. The four-track EP became the opening of “SABLE, fABLE,” the full-length album featuring 13 songs.
“’SABLE,’ was really quite literally me alone in the woods for the first time since” he made his 2007 studio album ‘For Emma, Forever Ago,’ Vernon told Radio Milwaukee on April 11. While “SABLE,” is more about “an unwelcome feeling of familiarity and anxiety,” the tracks on the latter half of the album, “fABLE,” are representative of Vernon’s decision to “take a leap into joy,” he added.
The notion that “SABLE,” acts as a prologue for “fABLE” is evident within the tracks themselves. “...” is the 12-second flatline the album opens with, conjuring the emptiness that pervades the subsequent track, titled “THINGS BEHIND THINGS BEHIND THINGS.” In this song, Vernon’s vocals are powerful as he laments an endless cycle of anxiety. The production of the track most closely resembles that of his 2011 album “Bon Iver, Bon Iver”: hollowed out, yet visceral.
The songs of “SABLE,” certainly evoke the Bon Iver of the past — mired in endless, painful self-awareness. “S P E Y S I D E” is stripped down with lyrics that set the stage for the unraveling that is yet to come. Lines like “I can’t rest on no dynasty / Yeah, what is wrong with me?” capture how vulnerable Vernon has been — albeit through complicated metaphors and insider references — since he famously entered a cabin and left with the Grammy-winning album “For Emma, Forever Ago.”
“SABLE,” ends with “AWARDS SEASON,” a song that oscillates between soaring instrumentals and an isolated focus on Vernon’s vocals. It is a hopeful end to the pain of the past. Vernon sings “But I’m a sable,” portraying himself as darkness personified. The transition to the “fABLE” portion of the album is reflected in the lines of “AWARDS SEASON,” a certain standout from the album’s beginning: “Oh, how everything can change / In such a small time frame / You can be remade / You can live again.”
The songs that follow don’t encapsulate joy in the same manner that pop music and dance tracks do. Instead, Vernon retains his trademark emotional depth to obfuscate the simplicity of happiness. His jubilation was born out of the heartbreak that once dominated his sound.
“Short Story” is less than two minutes long but quickly moves into a resounding symphony that signals brighter days ahead. The song transitions effortlessly into “Everything Is Peaceful Love,” which adopts an electronic sound as he shifts from despair to ecstasy. There is an innocence to the song in Vernon’s inability to control his cheer. He plays on images of being caught off guard by the extent of his feelings, an experience likely familiar to listeners.
There’s a sensuality to “Walk Home,” an expression of intimacy made more powerful by its simplicity. The pitched-up intro captures Vernon’s ability to cross genres and willingness to experiment, a facet of his creative process that has remained compelling. The lines “Walk home / Wanna be inside with you” represent how thorough Vernon is. While his plain-style lyricism is often chaste, his emotional delivery points to a palpable desire in his words.
“Day One” is a collaboration between Vernon and artists Dijon and Flock of Dimes. The solo verse by Flock of Dimes is rich and soulful, providing a vibrant foil to Vernon’s often-guttural voice. While “Day One” strikes gold, it is certainly outdone by “If Only I Could Wait,” a collaboration with Danielle Haim. Haim’s clear, strong voice suits the back-and-forth nature of the track, which explores the struggle to leave or stay in a relationship. Both collaborations present Bon Iver in its best light — allowing its trademark, emotional ballads to gain strength and originality from Vernon’s talented collaborators.
The bliss of “fABLE” only grows on “From,” a clear standout from the latter half of the album. Vernon holds no fear in expressing his love, despite the growing challenges he faces in maintaining a romantic connection. The song builds to a breathless bridge that is an explosion of admiration as the background choir reinforces its liveliness.
The romance continues on “I’ll Be There,” a site of Vernon’s playful lyrics, which would be cringey if not for the sincerity with which he sings them. Lines like “Keep the sad shit off the phone / And get your fine ass on the road” suggest that while he remains introspective, Vernon is more than capable of diversifying his expansive catalogue of music.
“There’s A Rhythmn (sic)” and “Au Revoir” close out the album. While the latter is an instrumental track that acts as a quiet goodbye to this era of Bon Iver, the former encapsulates how “SABLE,” and “fABLE” work together to create Vernon’s newest masterpiece. The song expresses the hope that new love brings but is touched by a knowledge that healing does not happen overnight. The lyrics “And now I think you need some space / I will pause and stand with spade / ’Cause you really are a babe,” sung to lulling instrumentals, represent what life can look like when one emerges from darkness.
“SABLE, fABLE” is an act of bravery for Bon Iver. The album encourages listeners to dig deep, and through experimental sounds and breathtaking collaborations, there’s something for everyone.
“Have the courage to walk away from something that seems to be the greatest thing on Earth, but it’s not serving you,” Vernon said in an April 11 interview with the Guardian. “Have courage to do something bold, not just for bold’s sake, but because you have the patience to locate what’s wrong.”
