Review: Bon Iver’s ‘SABLE, fABLE’ Is a Heartfelt Message from Grief to Redemption - Atwood Magazine

      In the quiet stillness that follows silence, Bon Iver re-emerges – not with a loud return, but with a respectful whisper that gradually evolves into something radiant. ‘SABLE, fABLE’ transcends being just an album; it represents a profound reflection conveyed through dual perspectives: one steeped in the haze and darkness of introspection, the other blossoming with the tender glow of revival. Through these tracks, Justin Vernon navigates the journey of transformation, from a solitary spark to a shared warmth, weaving together themes of loss, love, and the subtle wonder of new beginnings. This is music that doesn’t insist on being heard – it beckons you to lean closer, to feel, and to remember.

      Stream: ‘SABLE, fABLE’ – Bon Iver

      For an artist frequently linked to solitude and self-examination, Bon Iver’s SABLE, fABLE offers an outstretched hand. This fifth studio album, which took six years to create, sees Justin Vernon revisiting the emotional landscape that rendered For Emma, Forever Ago a classic, now armed with something infinitely more delicate and valuable: Hope. Released through Jagjaguwar, SABLE, fABLE is more than a collection of songs – it’s a diptych, a mirror and a resolution. The first half, SABLE, released as an EP in late 2024, serves as a somber introduction, featuring three tracks filled with profound sadness and searching. Meanwhile, the second part, fABLE, concludes the narrative with nine uplifting songs that reach for light, joy, and human connection. Together, they create a narrative thread that is unlike any Bon Iver has previously crafted: the managed destruction and subsequent rebirth.

      Starting with its raw essence, SABLE transports us to the secluded cabin in the woods, capturing flickering embers of remorse and confusion. It leads us to “THINGS BEHIND THINGS BEHIND THINGS,” a quiet song that conveys more through its restraint than many albums do in an hour. It reflects a solitary man, yet one who has shed his loneliness.

      I find myself often gazing in the mirror

      And what I see there resembles a competitor

      I perceive things behind things behind things

      And there are rings within rings within rings.

      Then comes “S P E Y S I D E,” with its nostalgic guitar riffs and Vernon’s signature falsetto, reaching back to 2008. “I can’t rest on no dynasty,” he sings, acutely self-aware. It is a haunting revelation, the sound of a man facing his own legend.

      Conversely, “AWARDS SEASON” erupts with energy: Radiant horns and vibrant anxiety create a climactic release, a necessary flare of intensity before the album can embrace tranquility.

      You had taken

      All away my aching

      Well, how could I ever thank you?

      I’d been received

      But I’m a sable

      And, darling, we are the fable

      You said that you were unable

      That it’s not reprieved

      Oh, but perhaps things can change

      What can wax can wane

      Things can be replayed

      And if it’s all the same

      Oh, just take my hand

      And place it on your blame

      And let it wash away

      With you, I will remain.

      However, don’t be misled. That underlying sorrow merely clears a path. With fABLE, the flowers flourish. The shift is marked by “Short Story,” a brief yet essential bridge connecting the past with the present, the sorrow with the joy. Following this, SABLE, fABLE ascends into a vibrant emotional landscape – infused with gospel, leaning into soul, and rhythmically invigorating. Vernon, along with co-producer Jim-E Stack, infuses Bon Iver’s folk essence with novel shapes and textures: trip-hop beats, interspersed Wurlitzer chords, glistening pedal steel, and saxophone bursts that exhale rather than scream.

      In “Walk Home,” ethereal guitars and analog tape warbles backdrop a tender declaration of shared longing: “I wanna know where you wake up.” One of the album’s most powerful achievements is its ability to steer clear of the glamorous distractions of Vernon’s prior collaborations. The days of Kanye and Swift are behind. Instead, SABLE, fABLE features subtle, textured inputs from kindred artists like Dijon, Danielle Haim, Flock of Dimes, Jacob Collier, mk.gee, and Kacy Hill – each enhancing the songs without overshadowing Vernon’s intent. It’s about intimacy, not scale.

      “Day One,” featuring Dijon and Flock of Dimes, shines as a standout track, feeling like a living entity. Keys flicker like rays of sunlight, while Vernon expresses concerns of identity and fidelity: “I don’t know who I am without you.” This painfully sincere admission transforms vulnerability into determination.

      Then there’s “