“I can handle, way more than I can handle.”

The opening lines of Bon Iver’s final track of the new EP SABLE, speak with a newfound clarity. From being known for his acoustic, folksy wailing on For Emma to his avant-garde, garbled vocoder singing on 22, A Million, to his triumphant and soulful belting on I,I Justin Vernon’s music has always provided new angles to life. Simultaneously, Vernon’s deep baritone, made-up lyrics and disarming raw emotion were the hallmarks of the Bon Iver sound. SABLE, is a return to his earlier days. The three-song journey is most similar to For Emma and one of Vernon’s earliest projects, DeYarmond Edison’s Silent Signs. His return to the beginning is defined by an exciting transparency, which may be attributed to Vernon’s decision to “close the door” on psychedelics. During SABLE, Vernon is far more raw and honest than before (somehow), while managing to leave listeners with the space to contemplate the meaning behind his lyrics.

The opener, “THINGS BEHIND THINGS BEHIND THINGS,” comes across as a discourse of Vernon’s relationship with anxiety. Speaking of guilt and discomfort, Vernon remuneratively repeats that he would “like the feeling gone.” Whilst the lyrics are rather depressing, the lively and shiny guitar balanced with a driving rhythm draws listeners to the accessibility of Bon Iver. As he puts it, Vernon gets “caught looking in the mirror on the regular,” speaking of a human detachment we can all relate to. Although Vernon is upset, he is able to express his fears and worries beautifully, eventually landing on the reflection that he is bound to “never lose, and who’s the benefactor?” Vernon is wrestling with the consequences of his actions, for better or worse. Artfully, Vernon does not sound defeated, he rather sounds hopeful and resigned to a life of quiet simplicity.

The second song of the EP, “S P E Y S I D E” discusses Vernon’s relationship with guilt. He seems to be pleading with someone, trying to reconcile his past actions with who he wants to be and who he currently is. The guitar is definitively firm and played in the fingerpicking style. The song features some lovely string instrumentation, adding to the rustic feel. Each line rises and falls, with Vernon attacking the melody, which he has such a talent for. For this song, each “guitar string resonates through individual speakers” adding a layer of production that makes listeners feel as if they are in the room with Vernon. This song is magical, strikingly raw and deeply melancholic, with the classic Bon Iver sense of acceptance.

The third and final song from SABLE, is “AWARDS SEASON,” which functions as an a cappella confession. Vernon sounds more confident and cutting on this song, as he pridefully begins: “I can handle, way more than I can handle.” Effectively, Vernon is detailing a relationship that never fully started. Using music as an outlet, he describes his feelings and predicts how he will feel when he sees his ideal lover on TV, singing “God my heart.” Listeners, I’m sure, are curious to hear who exactly this song is about, with multiple theories already circulating online. One such theory is wondering if he is talking about himself, since the music video features Vernon on TV.

Each track has its own arc and story, yet the simple-sounding production and vibrant instrumentals provide listeners with a sense of warmth through pain. Arguably, this is Vernon at his best, polished with a startling clarity. While the sound behind his lyrics has always been dynamic, this time around, Vernon is more accessible and honest, which works in his favor. This EP, after a five-year break, is a welcome addition to the Bon Iver canon, and most listeners are left satisfied, yearning for more.

*Source: https://www.newyorker.com/culture/the-new-yorker-interview/bon-iver-is-searching-for-the-truth