Sufjan Stevens - An avalanche of artistry
June 21st 2006 03:48
Ok this review has been a long time in coming. Like... since a few days after I first reviewed Sufjan Stevens. But, in researching for my artist review of Sufjan Stevens, I found out that the American folk artist was about to release another album, entitled The Avalanche. While the album was new material, it isn't a new album per se, but marketed instead as those songs cut from the final track listing of his previous release, Illinois. Nevertheless, the album is in no way a half-hearted release, but rather ensured to be created properly, even to the point that several tracks were redone to some extent in order to ensure that they are at their full potential.
The album opens with a track of the album's namesake, The Avalanche and, from the beginning, introduces that particular aspect that was unfortunately missing from Illinois - the banjo. The instrument which has become ever-popular in folk and indie songs, has slowly matured across Sufjan's albums, taking new shapes and aiding in structuring the personality of Sufjan's song. Then it came to his last album and the crux of his instrumentation and song-writing suddenly disappears. Thankfully, this album reintroduces it in full swing, in a similar fashion to Greetings From Michigan's "For the Widows in Paradise."
This album is definitely the best of both worlds, combining Sufjan's previous work, with the electronic-infused jazz and classical jazz from Illinois. Dear Mr. Supercomputer sounds like it was made by Sufjan by himself with a keyboard and computer, where Adlai Stevenson is reminiscent of the full-band experimentation Sufjan began with The Man of Metropolis in the last album. The album goes in a few too many directions for comfort, from the trumpet and electronic-based jazz-folk to the banjo and piano folk, separated by interlude tracks that appear to have no real point.
There are emotionally soft points throughout the album that hark back to the simplicity of Seven Swans but for the most part, it seems that Sufjan is becoming more and more complex in his instrumentation and use of a full band. The highlights of the album must be the three different versions of the Illinois main track, Chicago. The song is totally transformed three times, from acoustic, to "Adult Contemporary Version," to my personal favourite, "Multiple Personality Disorder Version," which combines distorted organs with driving guitars and the mellow drums which are unique to Sufjan's instrumentation. The album ends on a note that is fairly reminiscent of Enjoy Your Rabbit, the days of Sufjan's completely random use of ambient sounds in the true Tunng fashion.
Several reviews I have read on the album seem to lament that this album contains the cutoffs of Illinois rather than the much-favoured Seven Swans and I can see their point. Where the latter is a memory of much simpler instrumentation from Sufjan and a much more folk styling, Illinois sees Sufjan in a much more complex and somewhat disoriented light. The Avalanche has become a combination of the two, a sign of a constantly evolving folk artist who is trying to unleash his emotions and ideas through so many different individual stylings. Perhaps the middle-ground has been found, and yet it remains slightly awkward, an almost battle between two vastly different genres. It is definitely an album to behold and appreciate, but this is only one step in Sufjan's continuing journey.
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Comment by amy
'Chicago' always makes me SO nostalgic and I've never even been there.
Comment by Jimbo
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Comment by Anonymous
it's "soof-yahn" not "suhf-juhn" like they pronounce it.
Comment by Jimbo
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