Review Summary: there's a rhythmn to reclaim
”the only thing left that’s constant is the change” - rx bandits
It is this terribly liberating awareness of transience that has compelled Justin Vernon to beckon listeners toward the heavy twin gates of
SABLE, fABLE, his often resistant, but ultimately captivating surrender to the forces of volatility. On lyrical, musical, and ideological fronts alike, Bon Iver’s long awaited fifth full-length is one of reckoning, a confrontation with the ephemerality of the past, the elusive grasp of the future, and a concerted effort to accept the
itch of relinquishing control and living in the present. As the scope of the project expands from the introspective seclusion of the
SABLE EP to the gripping unpredictability of its nine newly released tracks, Vernon’s journey toes a stirring and contradictory line between a peaceful samadhi of his temporary place in the universe, and a ceaseless striving to unearth mummified desires and cling to them, in hopes they may ultimately be fulfilled. Upon closer observation, the ebb and flow of
SABLE, fABLE’s overall quality can be viewed as a mirror of this struggle, with its more playful and effortless moments standing tall over the sterility of its offerings that feel more crystallized in time.
”understanding means throwing away your knowledge” - thich nhat hanh
I was always somewhat flabbergasted by the laudatory response that “S P E Y S I D E” received. While almost every Bon Iver fan (even the ones who adored
22, A Million and
i, i) has clamored for a return to the simplicity of an acoustic aesthetic, it is an erroneous assumption that the barebones backing of a track like this could recapture that magic. The truly enchanting aspects of
For Emma and later acoustic triumphs like “29 STRAFFORD APTS” are their reliance on well-placed melodic flourishes to punctuate emotional meaning. Poetic as “S P E Y S I D E”’s lyrics are, they ultimately attach themselves to a lifeless musical manifestation of their narrative. This is a curious trend that continues on the album proper, where the linguistic desperation of tracks like “Walk Home” and “I’ll Be There” confine themselves within arrangements that somehow feel just as frozen and powerless as the words they carry. It’s as if the pleas for connection that define the record forcefully hijack Vernon’s creative vehicle in these moments and strip the songs of any unique wrinkles that could be piled upon, criticized, and most regrettably of all, appreciated.
”f u c k i f i e d” - justin vernon
The record’s most profound and memorable experiences arrive at the hands of the tracks that are not afraid of crossing timelines, the ones that are unafraid of integration and understand there is no returning to the past. “AWARDS SEASON” is the true gem of the EP trio, reflecting masterfully on both the constancy and impermanence of the phases of the moon. This track’s palpable feeling of bittersweet gratitude is translated in flawless fashion through its electronic-tinged sexy sax crescendo and superior understanding of minimalist songwriting strategy, representing evolution and change on a musical level just as the album aims to represent these concepts on an ideological level. The jaunty one-two punch of “Day One” and “From” espouse similar beliefs about Vernon’s relationship with time, as well as his relationship with relationships themselves, weaving a tuneful fractal web of mindful presence and reflective yearning. As the tracklist concludes, even this nostalgic desire that is prone to give pause is integrated, as demonstrated by the cyclical nature and hopeful disposition of “There’s a Rhythmn”. All at once on this flavorful smörgåsbord of everything that has defined Bon Iver’s career, Vernon finds himself scattered, whole, distant, home, constant, changing, resistant, accepting, restless, and peaceful. It’s a fascinating microcosm of the odyssey, both emotional and geographic, that Vernon has embarked on over the past six years, and further illustrates the undeniable correlation between songwriting success and forward motion that stood out to me throughout the album. The rhythmn [sic] that is spoken of does not find itself concerned with our hangups, wounds, or the distorted mental models we’ve constructed to craft some sort of coherent yarn from the ingredients of our painful sensations. It looks neither back nor forward. It’s simply being, and inviting you to do the same. When
SABLE, fABLE musters up the courage and wherewithal to do just that, it’s no surprise that it begins to truly shine.
