Sufjan Stevens' doesn't need hype to gain his place. He has a growing legion of fans who enjoy his work wholeheartedly, and are spreading the word based on his own musical merit. I am among them. I cling to Sufjan's breathless voice and stunning off- beat melodies, choirs, handclaps, banjo and guitar work that are natural, fun loving, tongue in cheek, and exquisite in prose. Stevens is a writer/ musician who advances into new depth of sound with his new release "Come on, Feel the Illionois", the luminous follow up to his last opus on an American state - 2003's "Greetings From Michigan".
Despite what a previous reviewer has strongly mentioned, Stevens' in not trying to impress, nor is he being precious or pretentious. As a writer of stories (as well as songs), he is using his artistic impressions by giving us tales of the city of "Broad Shoulders", and the lives that sprawl from its center. Whether it's the haunting, lilting piano chords that waft over "Concerning the UFO Sighting in Highland", to the chilling "John Wayne Gacy", Stevens weaves tales of mid-western pathos, lending texture to a multi-faceted America. Indeed, Christianity is used throughout these stories, not as self righteous preaching, but as a foundation for universal emotion. Sufjan uses his own faith intelligently, with open heart, liberal mind and lack of spiritual delusion. In the heart stopping "Casimir Pulaski Day", when the protagonist sings of a young girl he once loved in bible study, and the complications that arose when they innocently made love, we see him struggle with his devotion to Christ. It's a song sung in hindsight, after his love dies of cancer. "We pray over your body, but nothing ever happens." It is here where he breaks over his frustrations with the divinity, lamenting "He took my shoulders and He shook my face and He takes and He takes and He takes."
If there are any criticisms of this work, it's probably the length, clocking in at 74 minutes with 22 tracks (24 if you download from iTunes). Although the musical interlude's stoic drums and piano are used to change the dynamic between songs, they tend to linger, and seem in need of paring down. Yet, the lovely strings and flutes that flourish as transitions add color, even when hilarious songs like "Decatur", an ode to the stepmom, start up. Here, he stubbornly sings, "We did everything to hate her", and realizes, after some neat-o daytrips to which she's treated her stepkids, that she was one cool chick. The moving "Chicago", the catchy "Jacksonville" and the emotive "The Man of Metropolis Steals our Hearts" encapsulates the mid-western sensitivies and pride of the people, done with charming turns, interesting lyrics and selfless intent. The tunes can be quite infectious, and cause plenty of humming and singing when one least expects it. Yes, his titles are long, but they are a hoot! So, he's forgiven.
Listen to the majority on this board. The album "Illinois" is much like the spirit and personaltiy of mid-western folk. It is humble. It is hard working. It is beautiful. It is not trying to impress anyone. And it will be remembered for years to come as an ambitious, sensitive and humorous account of the state of Illinois.
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