Back catalogue: Rock (All)

Review: After 2015, Bon Iver began to fuse ambient glitch with folk, a style which now reaches a head on his latest LP. It expands on 2024's taster EP 'SABLE' in the form of an 11-track sonic parable: waxing introspective on difficult themes such as memory and identity, 'THINGS BEHIND THINGS BEHIND THINGS' and 'S P E Y S I D E' indulge typographic play and fragmental lyrics, the latter especially paradigm-shifting in lyrical perspective. 'Awards Season', also, deals in the problematics of recognition, peeking behind and thus part-dissolving the veil of success in public life. With signature passion yet quarrelsomeness, Justin Vernon has crafted yet another glistening, glitching folk odyssey for us to enjoy.

Review: It has been some five-plus years since the last full Bon Iver album but the wait has been well worth it. This one follows the introspective SABLE, a sparse, vulnerable EP born from isolation and inner turmoil. Where that was shadow, this is light-a lush, radiant celebration of love, connection and emotional rebirth. Written at April Base in Wisconsin with collaborators like Jim-E Stack and Danielle Haim, the album leans into clarity and intimacy and gets rid of the signature dense abstraction for more honest and heartfelt pop. The vocals are delivered with openness and purpose as they explore desire, hope and devotion. While still acknowledging lingering shadows, this full-length is a story of growth that isn't about fairytale endings, but about the lessons love teaches.

Review: Indie singer-songwriter and folk experimentalist Bon Iver follows up his 2024 EP 'SABLE', expanding upon the EP's concept with a full-length in 11 tracks. Diving into themes of memory, longing and transformation, the record feels like a deciduous psychic regrowth, processed and refined from an initial uncontrolled burl of raw feeling and expression. Layering experimental sounds and organic textures, it hints at Iver's change in direction kept steady ever since 2016's Jagjaguwar debut 22, A Million. The style was continued and redeveloped on 2019's fourth album, i,i, and now returns in its fullest resplendency, with modern symbolic bricolage of effulgent soundscapes and querulous singing. This is the latest in a string of records that cements Justin Vernon stature as an artist and not a mere musician: increasingly, we hear the work of someone clawing back greater and greater shares of aesthetic control.