This post was updated April 13 at 7:41 p.m.

Bon Iver is exploring new shades of emotion in characteristically strong form on “SABLE, fABLE.”

The indie folk group released its fifth studio album, the 42-minute “SABLE, fABLE,” on Friday. The 13-track LP arrives almost six years after its predecessor, 2019’s “i,i,” which was nominated for Album Of The Year at the 62nd Annual Grammy Awards. Despite the fact that four of the project’s songs were previously released as part of the EP “SABLE,” last year – and another three had been published already as singles the past few months – “SABLE, fABLE” still feels fresh and cohesive, managing to push the sound of Bon Iver’s music forward while delving into different perspectives on love and loss.

If listeners only sample the first few tracks – which begin with the underwhelming one-two punch of the 12-second instrumental “…” and the lyrically repetitive lament of “THINGS BEHIND THINGS BEHIND THINGS” – it would be easy to emerge with the impression that “SABLE, fABLE” follows the precedent of past Bon Iver albums in striking a melancholic tone across its entire runtime. After all, the band accomplished its breakthrough with somber lyrical and sonic content on 2007’s “For Emma, Forever Ago” and 2011’s “Bon Iver, Bon Iver.” Those full-length albums – which arguably remain the band’s best bodies of work and two of the finest indie folk releases this century – are fundamentally different from “SABLE, fABLE,” and to compare them directly would come at the detriment of the newest project’s distinct musical flavor.

[Related: Album Review: Lady Gaga’s ‘MAYHEM’ brings the magic with danceable tunes, quirky lyrics]

Put simply, the new LP reveals itself to possess a far more uplifting tone than Bon Iver’s past work after multiple listens, with the lyrics and steady warmth of the instrumentation reflecting a quiet, restrained sense of optimism. To be sure, the austerity of an entry such as standout third track “S P E Y S I D E” allows the album to trace through regret and longing with wistful lyrics like, “I know now that I can’t make good / How I wish I could.” After the first few tracks, though, the tone of “SABLE, fABLE” pivots tremendously to unleash some of the most rhythmically buoyant and thematically content music of Bon Iver’s career.

The lilting production for tracks such as “Everything Is Peaceful Love” and “There’s A Rhythmn” illustrate some of the album’s finest moments and provide immediate examples of a mood-lifting energy. On the former, frontman Justin Vernon’s delivery of lyrics such as, “And I know that we may go and change someday” effortlessly captures the dichotomy between the narrator’s anxiety about an uncertain future and positive belief that conditions in a relationship will work out as they are meant to.

Conversely, “Walk Home” presents an unconventional combination of auditory elements, as Vernon’s measured vocals appear in tandem with a chirpy, almost robotic backing vocal. Thankfully, the juxtaposition of these seemingly disparate pieces within the composition do not detract from the sincerity of the lyrics, which feature direct declarations such as “Of this I am certain of / You was made for me,” that can make listeners’ hearts swell.

“Day One” might grow to become a polarizing entry on the album due to its more accessible, less explicitly alternative sound, but this collaboration with Dijon and Flock of Dimes is one of the best on the album and weaves in ambiguous instrumentation blending several genres. The album’s other major collaboration is “If Only I Could Wait,” which features Danielle Haim and builds compelling romantic tension by alternating between Vernon’s and Haim’s vocals.

[Related: Album review: The Lumineers’ timely lyrics shine on ‘Automatic’ despite mediocre instrumentation]

Ultimately, “SABLE, fABLE” falls short of challenging “For Emma, Forever Ago” and “Bon Iver, Bon Iver” to be the top Bon Iver album due to the monotony of tracks such as “AWARDS SEASON,” which sticks out as especially dry and plodding, and the limited value of shorter songs like the aptly titled “Short Story.” Broadly speaking, the LP is about on par with 2016’s more experimental “22, A Million” in terms of quality and replay value. That said, the new project is definitely a significant improvement from “i,i,” which is arguably the weakest link in the group’s otherwise exceptional discography.

What is perhaps most impressive about “SABLE, fABLE” is how the LP manages to evoke all of the introspection and catharsis a listener would expect to receive from a Bon Iver album while taking such a different approach to its production. Across the LP, Vernon’s evocative vocals are as pristine and expressive as ever, embracing deep, detached huskiness on some tracks and a crisp, moody falsetto on others. Bon Iver has always excelled at creating contemplative music that prompts listeners to turn inward with their intimate thoughts and emotions, and the multilayered “SABLE, fABLE” is another proud addition to that collection.

“SABLE, fABLE” may conclude with the suitably titled instrumental “Au Revoir,” but the album proves that Bon Iver’s quality musicianship and powerful songwriting have not said goodbye.