Bon Iver's ‘SABLE, fABLE': Euronews Culture's verdict
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Listening to Bon Iver brings to mind a quote from Julie Buntin's novel 'Marlena': '
I want to go home but what I mean, what I'm grasping for, is not a place. It's a feeling. I want to go back. But back where?
'
That feeling, of searching for some intangible comfort, has always been core to the band's output. Ever since the solitary creaks and layered vocals of debut album 'For Emma, Forever Ago', recorded in a remote Wisconsin cabin, Bon Iver has become synonymous with a woodsy, folkloric feel — their music a liminal space in which quiet transitions emerge and emotions thaw.
It's an identity that frontman Justin Vernon has been trying to escape throughout his almost two-decade career, each new album more distant from the last via increasingly abstract electronic experimentation.
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Bon Iver's 'SPEYSIDE': Euronews Culture's verdict
From the dense dreamscapes of 2011's 'Bon Iver, Bon Iver' to the prism pop of 2016's '22, A Million', listeners are always being taken somewhere new - yet the feelings conjured remain the same. Few other artists have the ability to capture longing in the same way; the endless cycles of our minds attempting to find acceptance.
Six years after 2019's 'i,i', it feels like Vernon has finally reached the place he's been yearning for.
Told in two parts, 'SABLE, fABLE' is Bon Iver's most optimistic album yet - a sparkling embrace of change, hope and the beauty to be found within life's ephemerality.
Composed in isolation during the COVID-19 pandemic, the first three tracks —
released as an EP last year
— mark the beginning of an emotional arc, starting from a place of anxiety. In 'THINGS BEHIND THINGS BEHIND THINGS', Vernon tries to expel it — his trademark repetitions turning thoughts into noise into nothing: '
I would like the feeling / I would like the feeling / I would like the feeling gone.
'
This restlessness settles as we transition into 'SPEYSIDE', a calming contemplation of contrition that cradles guilt while letting it gently slip away into acceptance: 'I really know now what had hold on me'. While the discomfort lingers, the music slows — and learns to sit with it.
Many of Bon Iver's best, and most notable works have emerged from regret and heartbreak — caught in the gentle swells of tracks like 'Skinny Love' and 'Wisconsin'. But 'SABLE, fABLE' is the first time we hear Vernon truly move beyond that cycle. It's a sadness broken by the scattered solidarity of piano keys and saxophone wails of 'AWARDS SEASON', lyrics flickering with a new-found hope: '
I can handle / Way more than I can handle.
'
The rest of the album is vibrant with the sweetness of being in the moment, the funky fizzles of 'Everything Is Peaceful Love' hitting like warm rays. That soaring croon of '
And damn if i'm not climbing up a tree
' reminds us we can rise above the wreckage of painful experiences — and find contentment.
Even when wrestling with the confusions of desire in tracks such as 'Walk Home' and 'If Only I Could Wait' (a collaboration with Danielle Haim), there's serenity to every tumbling harmony and tender piano melody. The familiar elements are still there: glitching soundscapes and falsetto, but no longer imprisoned in the wilderness of rumination.
If Bon Iver's music once felt like grasping for a feeling, 'SABLE, fABLE' is the release — a recognition that true comfort comes from being at peace with the present. Wherever that may be.
Bon Iver - 'SABLE, fABLE'
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'SABLE, fABLE' by Bon Iver is out now.
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Euronews
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Austria's JJ talks Eurovision 2025 win, dream collab and what's next
What do you get when you combine the soaring soprano stylings of Maria Callas, the drama of '90s divas like Celine and Whitney, and the bass-heavy, brat-pop chaos of Charli XCX? You get a winning Eurovision song. JJ, Austria's newly crowned champion of the 2025 Eurovision Song Contest, brought all of that and more with his electrifying song "Wasted Love". Euronews Culture caught up with the rising star to unpack the whirlwind of the final - from early morning rehearsals to the surreal moment his name was announced as the winner. The 24-year-old singer also reflects on his musical upbringing between karaoke nights and classical symphonies, and shares what's next for his music career now that the trophy is his. Euronews Culture: So, JJ, first of all, how are you? How have things been? JJ: Yeah good. Very busy. I've been traveling around a lot, but I'm enjoying every moment. It's so fun. Please walk us through the day of your Eurovision win, from waking up to taking home the trophy. So I woke up, I think, around 7:30 because we had to leave at 8 to head to the arena. Once we got there, we did a bit of press, then hair and makeup, and had a rehearsal in one of the vocal warm-up rooms. We went through the song once or twice - kind of like a performance run-through, including how I would move on stage. Then we had the family show, which I think started at 1 PM. That was basically the dress rehearsal for the evening show. It was fun, and the crowd was already wild. They were so loud - it was just an insane feeling. We also rehearsed the flag parade, and then I got to perform. While I was sitting there, I just thought, 'Okay, you just have to perform now. Tonight, soak in the moment, because this is the last time you're going to be on that stage." And yeah, it was so fun. I could really feel the energy of the crowd. After I came off stage, we did a bit more press - lots of interviews and TikToks and things like that. Then I took a one-hour nap because I needed some rest. Then it was the same thing again: waking up, having what I'd call a late lunch or early dinner, vocal warm-up, and then the show started. It became a routine by then - my semi-final was on Thursday, so I had the same schedule from Thursday to Saturday. During the final I thought I felt really present, but looking back now, it all feels like a blur because everything happened so fast - I didn't even have time to process it. When I finally had a bit of downtime before my nap, that's when I could actually reflect on what just happened. But overall, it was such a fun experience. And the more I think back, the more memories come up. I'll be like, 'Oh yeah, that happened too.' How did it feel when your name was announced as the winner? That was just crazy. We'd been there all day, and the three-hour show felt so long. I was really glad I performed early because then I could just watch my friends and cheer them on. But the waiting part felt endless. When they finally announced '178,' my team and I were freaking out. There's a video on social media where you can see them flinging me around like I was a fidget toy before pushing me toward the stage. It was all such a blur - so much happened at once. I was full of adrenaline and emotion - I felt every emotion you could think of. And yeah, I was just constantly sobbing. What did you do the night after winning? I performed again, then had to stay on stage for more interviews and official portraits. After that, we went to the press conference at the media center in Basel. I got back to the hotel at 3:30 AM, where I saw my sister and all the other delegations. We had a huge party in the hotel lobby until about 6 AM. So yeah, it was a long night! Where is the trophy going to go? Good question - I have no idea yet. So far, it's just been in my room. But I think we have a glass cabinet in the living room where we keep my grandmother's trophies. I think we'll just make space and put it next to hers. It's really heavy, and I don't have a suitcase for it, so I have to be careful. I don't want a NEMO experience - you know, they had a rough time with theirs breaking. Tell us a bit about your musical background. Can you remember when you first fell in love with music? That was in Dubai, where I grew up. We had karaoke parties every weekend at home - my family would invite friends and relatives. The first karaoke song I learned was 'Because of You' by Kelly Clarkson. Big song... Yeah, crazy, right? For a six-year-old to try and learn that! But it was fun. That was the first time I consciously learned a song. Then the next morning, my dad showed my siblings and me Beethoven - his symphonies - as well as Bach and Mozart. That's when my love for classical music began to grow too. So I basically grew up between both musical worlds, and my love for it just kept expanding. Any other influences that inspire you most? Yeah - Mariah Carey was a big influence. But really, the '90s divas - Celine, Whitney - they were a huge part of my life. My older sister and my mom loved listening to them, so I got a lot of inspiration through them. And I also listened to the radio a lot. I loved Ariana Grande too. So I'd say I'm a mix. And now, especially with the electronic side, my love for Charli XCX has grown even more -especially with her brat album. How did the operatic style come in? Did you learn that formally at school, or…? After going through puberty, I realised that I still had a high singing voice, and I thought it would be a cool party trick to imitate a soprano - like, 'Let's just sing high notes!' So. I started teaching myself by listening to audio recordings of Maria Callas and Montserrat Caballé on YouTube. Since I love imitating voices and sounds, I tried to recreate how they projected their voices. That's how I started learning to sing classically. Later, I got into university and began studying professional vocal technique. So your winning-song "Wasted Love" - it obviously starts as an operatic ballad and then takes off into techno banger. When you were writing the song, how did that idea come about? Did you always know you wanted to end it like that? So it was the three of us in the studio - Tayah, the songwriter; Thomas, the producer; and I. And we'd never worked together before, so this was our first time. They didn't have any experience with classical music, and it was also my first time in a recording studio. So we just let our creative minds flow. We knew we wanted to switch things up - we wanted something that would, you know, gag the people. Then our producer, Thomas, was like, 'What about techno?' And Tay and I were like, 'Okay, we'll see.' We took a quick bathroom break, and while we were gone, he'd already added some EDM/techno elements. When we came back, he was like, 'Guys, I did something.' And then he played it for us - and we were like, "Wow. This slaps." And from that day on, we just kept it. How has life been since winning? Yeah, it's been very fun - pretty busy, because I've been traveling a lot. But I love being in different places, meeting new people - especially with my amazing team. I honestly can't complain. I have the best people behind me, so I'm really happy about that. I do get recognised a lot more. And sometimes, you know, when we're in a rush, I want to take a picture with people, but then I have to start running again. So it's a bit stressful in that sense - but it's fun. It's nice being recognised. So what's next for you? What have you got going on - tour, album? Yeah! So after the whole European press and promotion tour, I'm heading right back into the studio once I get home to make new music - because that's what everyone is very excited for. I'm so looking forward to it. I love being in the studio and experimenting a bit. We've got enough time, and we're gonna let Wasted Love have its well-deserved moment. And while that's still riding its wave, I'll be back in the studio working on what's next. And where do you see your sound going? I'll definitely keep my operatic sound - that's my USP, that's what people know me for. I want to hold on to my musical we'll see how commercial we can go - or what other experimental switch-ups might fit with that operatic sound. But I'm definitely keeping the high notes. If you could team up with anyone - your dream collab - who's top of your list? Obviously, Ariana Grande. But I'd also love to work with Charli XCX. That would be insane.
Euronews
a day ago
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Meet the 2025 winners of the Best Paris Baguette Award
If there is one thing French people are really serious about, it is most likely bread. Baking is almost an art in France. The baguette has even been granted World Heritage Status by UNESCO. For Parisian bakers, the top honour is to win the Best Paris Baguette Award. The 2025 competition featured 187 bakers from the French capital. Their creations were judged by a jury made up of Deputy Paris Mayor Nicolas Bonnet-Oulaldj, representatives of major professional federations, journalists and four randomly selected Parisians. Judges of this 32nd edition assessed the competing baguettes based on five criteria: appearance, taste, baking quality, crumb and honeycombing. This year's lucky winners are Mickaël Reydellet and Florian Bléas, of the aptly-named La Parisienne boulangerie. Reydellet created his first shop in 2006 and now manages nine bakeries, seven of them in Paris and two in his native Normandy. 'I'm very proud of the teams, because behind this competition is the day-to-day work of the whole staff, and this is not to be overlooked', he told Euronews Culture. Reydellet had already won the contest in 2016. In the past nine years, he worked endlessly to improve his product, despite external challenges like the Covid-19 pandemic and the war in Ukraine. 'Wheat harvests change each year. We have to adapt our recipes each time to take this into account ', he explained. 'That's the art of baking.' Like every recipient of the Best Paris Baguette prize, Reydellet and Bléas will have the privilege of delivering their bread to the Élysée Palace during a year. But for him, the French President is a client like any other. 'It's always very interesting to be able to go into the Élysée Palace and serve the most prestigious tables. But we take great care over every single one of our products', Reydellet said. 'Whether it's the President or just another client, we really try to do our job well, and that's what pays off.' Artisans at La Parisienne are no strangers to awards. Reydellet's colleague Mathieu Leveque also won the Best Paris Pastry prize this year, and Aziz Boussaidi earned second place at the contest for the best croissant in the region. After completing its own independent tasting, Euronews Culture can say that Bléas and Reydellet's baguette is a worthy winner. It also largely passes the "Ratatouille" test. As explained by the character of Colette in the 2007 animated Pixar film, a good bread can be recognised by the way its crust sounds. La Parisienne's baguette offers a "symphony of crackle. Only great bread sounds this way.'
Euronews
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What are the 20 most controversial album covers of all time?
Content warning: This article contains images which some readers may find offensive. If you're a music lover and enjoy a bit of drama, you must have heard that controversy is brewing over the artwork of Sabrina Carpenter's upcoming album 'Man's Best Friend'. The suggestive – but hardly sexually explicit - cover features the buzzy 'Espresso' hitmaker on her knees in front of a faceless man who is pulling her hair back. And the release of the image has caused much debate. Many argue that Carpenter's MO has always been pop-horniness, and that she has every right to express herself and her sexuality – in this case what some may perceive as a submissive kink - in any way she sees fit and crucially, without being policed or harassed; others see this image as degrading, regressive and promoting traditional gender roles. At the end of the day, it's her album cover and can't we just let her be? Some hyper-conservative and hyper-progressive corners of the internet clearly disagree, and the reactions have been intense – which is hardly surprising, considering sexuality has always rubbed some people up the wrong way. Plus, scandal is hardly new for musicians, as artists have sparked outrage with their album covers for decades, leading some to be censored or even banned. From nudity to the open courting of outrage via political statements (and sometimes, downright poor taste), here are 20 provocative covers that rocked the music world and faced the most backlash. We proceed chronologically. A post shared by Euronews Culture (@euronewsculture) While hardly controversial compared to some of the other covers in this list, that's a downright unfortunate title to go with this image. And isn't the one on the right an uncanny dead ringer for a young Stephen Fry? Unsettling. It's not one of the Fab Four's most famous albums, but certainly their most notorious. Photographer Robert Whitaker took a snap of the band in white butcher's coats, surrounded by raw meat and dismembered baby dolls. Paul McCartney claimed it was a comment against the Vietnam War. US retailers were shocked and refused to stock the album, leading to it being withdrawn and reissued with a more vanilla alternative. Today, the 'Butcher cover' is available in pirated form. Those lucky enough to own an original pressing have an expensive and coveted piece of music history. The cover for the avant-garde 'Two Virgins' captures John Lennon and Yoko Ono completely naked. It sparked outrage, leading distributors to clandestinely sell the album wrapped in brown paper bags. At the end of the 1960s, Eric Clapton and Ginger Baker founded a supergroup with Steve Winwood and Ric Grech. They released only one album together, and to mark the occasion, they enlisted photographer Bob Seidemann. His image features a young topless girl holding a model spaceship. The image was considered deeply problematic and was promptly banned and replaced with a more classic shot of the band members. The Stones have had several album cover controversies over the years, including 'Beggar's Banquet''s artwork which featured a graffiti covered bathroom wall. However, it's the band's ninth studio album, designed by Andy Warhol, matched with its inuendo-heavy title, which rubbed censors up the wrong way. It features a suggestive denim-clad crotch and the original pressing of the LP also had a working fly which unzipped to reveal white underwear. The cover was famously banned in Spain, which was under the fascist rule of General Franco at the time. Photographer Eric Boman's shot of Constanze Karoli and Eveline Grunwald led many US outlets to censor the image, feeling uncomfortable with the sight of scantily clad models. Thankfully, most European distributors weren't irked by the sight of lingerie. There's misguided and then there's what was going on in the minds of German rockers Scorpions in 1976. The album titled 'Virgin Killer' depicts a naked 10-year-old girl with broken glass covering her genitalia. The controversy led to a bump in sales, but it remains to this day one of the most censored album covers in music history. NB: Euronews Culture has decided to blur the image since this album cover has been deemed by many as child pornography. Sex Pistols' only studio album caused plenty of pearl clutching when it was released in 1977. A record shop owner in Nottingham, UK, was arrested for displaying the records. This led to an obscenity-related court case, as he was charged for contravening the Indecent Advertisement Act 1889. The charges were eventually dropped. All because of the word 'bollocks'. All it took was a female-led punk outfit appearing topless and covered in mud for everyone to collectively lose their minds. Considering the sheer amount of topless men on album covers, the only words that come to mind are: deal with it. With an album title like that, it was pretty obvious that the (cheeky) cover image would cause some outrage. There are no words. It's one of the most famous album covers in the world but the artwork for Nirvana's grunge masterpiece proved divisive at the time of its release. It features a photo taken by Kirk Weddle of a four-month-old nude baby named Spencer Elden. Kurt Cobain refused for it to be censored, but did state that he would agree to a sticker covering the penis, reading: 'If you're offended by this, you must be a closet pedophile.' It didn't come to that. However, several decades later, Elden attempted to sue Nirvana for violating US federal child pornography protections with the image, arguing that it resulted in 'lifelong damages'. The suit was eventually dismissed. Rap pioneer Ice Cube was no stranger to controversy, what with the headline-grabbing lyrics of N.W.A's 'Fuck Tha Police.' But with 'Death Certificate', he sparked further outrage with the image of a corpse identified as Uncle Sam. The famous rap-metal band's debut album depicts the infamous self-immolation of Vietnamese monk Thích Quảng Đức in 1963, protesting the persecution of Buddhists by South Vietnam's US-backed government. The graphic image caused outrage. Not displeased with the situation, frontman Zach de la Rocha famously burned a US flag at Woodstock '99. The question remains: Could anyone really be surprised with a name like Rage Against The Machine? Heavy metal has always been a genre that has courted controversy, and there are numerous album covers that have shocked over the years. For their 1994 album, titled 'Youthanasia', Megadeth wanted to comment on the fact that society was euthanizing the young. The visual depiction of this ended up being a woman hanging babies by their feet on her washing line. A bit on-the-nose, but it was enough to get everyone freaking out. Marilyn Manson has always pushed the envelope when it comes to taste, and the controversial rocker did just that in 2000 for the album 'Holy Wood (In The Shadow Of The Valley Of Death)'. The disturbing cover depicts Manson as a crucified Christ, which led US stores to ban it completely. Considering that the controversial shock rocker's intended purpose was to critique censorship and that the previous albums 'Mechanical Animals' and 'Portrait Of An American Family' also sparked moral panic, the reaction to the artwork must have delighted him. European fans of New York rockers The Strokes were treated with the original cover of their stunning debut album, featuring a leather gloved hand on a naked hip. The US were quick to call foul, however, disapproving of the suggestive nature of the image. The band had to swap the gorgeous shot by Colin Lane – who spontaneously took a picture of his then-girlfriend after she came out of the shower. The replacement? A psychedelic but far less impactful depiction of subatomic particle tracks. In 2001, US hip-hop group The Coup, composed of Boots Riley and DJ Pam the Funktress, wanted to make a statement about destroying capitalism. Their idea: pose in front of the World Trade Center on fire. The image was conceived prior to 9/11 and the eerie timing of the album's November release meant that they had to replace the image with a martini glass on fire. Probably for the best. The cover for Ted Nugent's album was pulled before it hit shelves - and considering the misogynist credentials of this particular image, it might have been for the best. The sleeve for 'My Beautiful Dark Twisted Fantasy' saw a painting of a naked Kanye West being straddled by a winged female monster with sharp teeth. The controversial rapper refused for the image be pulled, but the record label reached a compromise by pixelating the image in some territories. Sabrina Carpenter's 'Man's Best Friend' is released on 29 August. He's one of the most bankable stars in Hollywood history, considered one of the last great Movie Stars and has defied death for more than three decades in the Mission: Impossible franchise... And yet, Tom Cruise has yet to win an Oscar – despite four nominations. Now, that Golden Baldie dearth is about to be rectified as the 62-year-old actor will finally receive an Academy Award this year. The Academy of Motion Picture Arts and Sciences announced that Cruise will get an Honorary Oscar in November to celebrate his entire career, praising Cruise for his dedication to his craft, including performing all his own stunts, and helping the film industry recover following the COVID-19 period. Indeed, Cruise – who can currently be seen in Mission: Impossible – The Final Reckoning - famously played a large part in kick-starting the box office during the pandemic when Top Gun: Maverick opened in late spring 2022. The sequel to the 1986 adventure went on to gross $1.5bn worldwide. Cruise previously earned lead actor Oscar nominations for Born On The Fourth Of July and Jerry Maguire, a supporting actor nod for Magnolia, and a best picture nomination as a producer on Top Gun: Maverick. The leading man is one of four honourees, alongside choreographer and actress Debbie Allen (Fame, Ragtime, Jo Jo Dancer, Your Life Is Calling), pioneering Black production designer Wynn Thomas (Do The Right Thing, Malcolm X, A Beautiful Mind), and country singer - and complete legend - Dolly Parton. 'This year's Governors Awards will celebrate four legendary individuals whose extraordinary careers and commitment to our filmmaking community continue to leave a lasting impact,' said Janet Yang, Academy President. 'The Academy's Board of Governors is honored to recognize these brilliant artists. Debbie Allen is a trailblazing choreographer and actor, whose work has captivated generations and crossed genres. Tom Cruise's incredible commitment to our filmmaking community, to the theatrical experience, and to the stunts community has inspired us all. Beloved performer Dolly Parton exemplifies the spirit of the Jean Hersholt Humanitarian Award through her unwavering dedication to charitable efforts. And production designer Wynn Thomas has brought some of the most enduring films to life through a visionary eye and mastery of his craft.' The Jean Hersholt Humanitarian Award is also an Oscar statuette and is presented to Hollywood figures renowned for 'promoting human welfare and contributing to rectifying inequities'. Parton's charitable and philanthropic work include the Dollywood Foundation, founded in 1988. The institution champions the education of children in her home state of Tennessee. As for her literacy initiative, Dolly Parton's Imagination Library, it has distributed more than 285 million books globally since 1995. Besides her music career, Parton has starred in films like 9 to 5 and Steel Magnolias, and earned two original song Oscar nominations for '9 to 5', and 'Travelin' Thru from Transamerica' from the film Transamerica. The four honorees will be presented with their Honorary Oscars at the Governors Awards ceremony on 16 November.
