Imagine capturing a spark of pure musical magic that feels destined from the very first listen— that's the story behind 'Day One' from the innovative new album SABLE, fABLE. In an exclusive chat with Billboard, Bon Iver's Justin Vernon and producer Jim-E Stack open up about the collaborative journey that brought this track to life, alongside talents like Dijon and Flock of Dimes. If you're a fan of how raw ideas evolve into polished gems, this behind-the-scenes look will have you hooked.
Justin Vernon kicks things off by sharing how 'Day One' emerged almost effortlessly, yet demanded real patience to perfect. 'This track is a prime illustration of letting inspiration lead the way,' he explains. 'I didn't craft any original scores or arrangements from scratch. Instead, it all stemmed directly from a sample provided by Sam—likely referring to Sam Alcott from Flock of Dimes—and we kept it pretty much intact. That said, it took us a full two years to breathe life into it, figuring out the right elements to sustain it, like adding the necessary depth and support through various production touches.' For beginners dipping into music production, think of this as nurturing a seedling: the core idea is there, but you need the right soil, water, and sunlight—here, that's the layers of sound and technical tweaks—to help it thrive.
Vernon recalls the instant connection he felt upon receiving the initial demo. 'The moment that file hit my inbox, the melody just clicked for me—it was undeniable,' he says with enthusiasm. 'You could sense it was something special, rooted in Dijon's unique style and vision.' This highlights how collaborations often hinge on that intuitive 'aha' moment, where artists recognize potential without overthinking it right away.
Jim-E Stack chimes in, emphasizing the communal spirit of the project. 'We absolutely had to bring in our close collaborators, the homies, to make it shine,' he notes. 'But honestly, up until that stage, we hadn't layered on a ton of extra elements yet.' It's a reminder of how sometimes less is more in the creative process—focusing on the essence before building out.
Delving deeper into the technical side, Vernon describes some of the subtle enhancements they made. 'We did add some layering to give it dimension, and I distinctly remember transcribing the chord progressions a little,' he shares. 'Then, I programmed them into MIDI keyboards to add more substance and presence.' If you're new to this, MIDI stands for Musical Instrument Digital Interface—it's like a digital language that lets computers communicate with instruments, allowing producers to replicate and manipulate sounds precisely, almost like playing virtual keys to bolster the track's emotional weight without overpowering the original vibe.
Stack praises the song's creative triumph, calling it one of the standout pieces on the album. 'This one's among the most rewarding from an artistic standpoint,' he says excitedly. 'It's pure joy to work on, featuring those timeless Jimmy Jam-style drums that skip the typical two-and-four backbeat— and that choice just absolutely amazed me.' For those unfamiliar, the 'two and four' refers to the standard snare drum hits in many pop and rock songs, landing on the second and fourth beats for that driving rhythm. Ditching it here creates an unexpected, floating groove that feels fresh and innovative, which is part of what makes the track so memorable.
Vernon wraps up with a lighthearted anecdote from the studio. 'It cracks me up thinking back to that session in Los Angeles,' he laughs. 'I was deep into tweaking the drums, obsessing over these refined, sophisticated patterns— you know, the kind that sound polished and intentional. But none of them quite fit; it just wasn't capturing the right energy.' This story underscores a key lesson in music-making: sometimes, perfectionism can lead you astray, and trusting your gut over 'tasteful' choices is what sparks true originality.
But here's where it gets controversial— in an era where production often leans heavily on polished, formulaic beats, does skipping traditional elements like the two-and-four backbeat revolutionize songwriting, or does it risk alienating listeners who crave that familiar pulse? And this is the part most people miss: how much of a track's success comes from serendipity versus sheer grind, like those two years of refinement Vernon mentioned?
What do you think— is 'Day One' a bold step forward in experimental music, or does it highlight the pitfalls of over-relying on samples? Share your takes in the comments below; we'd love to hear if you're team 'let it breathe naturally' or 'polish every detail'!
