SABLE, fABLE. Bon Iver

Believe it or not, but Bon Iver, except for a single with The National has never been on this blog and from my hand certainly not in the magazine of old. Today he is, with his recent album SABLE, fABLE. Somehow the description of the music and the interview in 'Oor' made me give the album a chance and I have to say that I like most of what I hear.

That is strange, yes. I remember that after all the hullabaloo because of his first two albums, I was left behind with the feeling what is all this fuzz about? I hated the man's falsetto and just stopped listening. With the electronics in the 10s I was truly convinced that Justin Vernon's music would never be for me.

As you will understand SABLE, fABLE really came as a surprise. I did not even bother to listen to the provided link. Why would I? I'm glad I did anyway. The falsetto is, mostly, gone and electronics are far more functional here, at least in most songs.

I understand that SABLE was an EP first, released somewhere last year. Later fABLE was added, resulting in a full length album. The whole starts with an electronic sound that can put someone off immediately. It doesn't last long and moves into 'Things Behind Things Behind Things'. To my surprise I get a Coldplay feel here. Should Chris Martin ever decide to wind down all things reeking of stadiums, a new Coldplay song could actually sound like this. Justin Vernon lowers his voice and does a Chris Martin. The arrangement is far too subtle though and aims for listening. This aim continues with the folk song 'Speyside'.

Later on on the album the songs become less recognisable as traditional, acoustic folk songs. 'Everything Is Peaceful Love', for example does a modern take on Bee Gees. Something the band may have sounded like had it recorded in the 2020s. The electronic antics of  'Walk Home''s vocals is a bit much for me. The rest of the song is fairly okay though. The same goes for his collaboration with Dijon and Flock of Dimes, 'Day One'. Bon Iver starts losing me a little here. It all sounds terribly forced to me. As if I'm listening to the song of a totally different artist from an R&B background grappling with his focus.

All's well again with 'From'. Bon Iver somehow mixes The Doobie Brothers' 'What A Fool Believes' and Beyoncé in a successful way. A mix that is not always my cup of tea but on SABLE fABLE is. The album continues with the R&B jazzy track 'I'll Be There' with Danielle Haim of the trio with the same family name. This music is on the edge of what I can process but manages to keep on the right side. I do wonder if this music is what the people Bon Iver conquered with his first two albums want to hear from Bon Iver in 2025. Part of SABLE, fABLE and especially SABLE may be. For those who bend with an artist and grow with him/her and allow themselves to be surprised, it certainly will be. Others like me join in, at least in part for this album.

Wout de Natris - van der Borght

 

You can listen to and order SABLE, fABLE here:

https://boniver.bandcamp.com/album/sable-fable