Justin Vernon returns with short but sweet EP
By Lewis J. Hannah
I find myself writing this review on a train back to my hometown, the place that I spent most of my childhood growing, nurturing, developing into the person I am now. And yet, I don’t feel like I’m anywhere near done developing. Even if that next step partly involves returning to what must feel like the site of origin, the original landmark, I feel as though it must be correct, this must happen.
In a way, I might relate to Justin Vernon, partially. My life and Vernon’s contrast in too many ways, I’ve certainly never found myself staying in a cabin in the woods to record a debut album in response to a feeling of mediocrity and aimlessness within my songwriting. Even if said event were to occur, I doubt that would be my response.
But Justin Vernon did that in 2006, and what’s spawned since then has been career of over 15 years s Bon Iver, with critical acclaim galore from fans and critics alike, who have grown a strong fondness for Vernon’s intimate and personal lyrics. With each release Vernon has demonstrated flexibility and ambition, from the isolated, dissonant folk of his debut For Emma, Forever Ag”, to the warped and cryptic Electronics of 22, A Million and I, I.
Vernon’s ambition to develop, and ability to adapt to what the music demanded, has led to such success. So perhaps some – me included – were surprised to see a return to the acoustics when Sables’s lead single ‘S P E Y S I D E’ was released, an intimate and sombre piece, with lyrics more akin to the For Emma years of Vernon’s career, in that it focuses on Vernon’s dissolution with the world around him and of himself. The layered vocals of ‘THINGS BEHIND THINGS BEHIND THINGS’ swarms your ears throughout, before a solitary voice closes out the track. And closer ‘AWARDS SEASON’ harkens back to some of the atmospheric ambience that Vernon has employed in his recent electronic endeavours, notably ‘8 (circle)”’ from 22, A Million, with its slow build up leading to a saxophone led instrumental at the song’s peak.
Perhaps this EP’s greatest strength, however, is not the ambition, or the flexibility, rather it lies in its consistency. Everything I’ve discussed about the style of Vernon’s past music appears in some manner on this EP, from the electronic led ambience to the personal and disillusioned acoustics and lyrics.
In a way, consistency is perhaps the greatest trait of all, can we as humans show we understood our lessons and apply them throughout our life. Will I head back to both my old and new homes with these lessons learnt, and be able to continue applying them successfully? Can I show that I learnt and Improved as a person?
Bon Iver proved on SABLE, that after a decade and a half, he understands that consistency is key. It may be more stripped back than what has come from Vernon recently, but it shows he hasn’t forgotten where he started, nor where he currently is. I hope I won’t either.
