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As unimaginable as it is that I could eventually own 50+ recordings from a single artist, if Sufjan Stevens has his way (i.e. lives long enough), and if each of his state records manage to be at least as good as his newest one here, Sufjan Stevens could eventually dominate a great portion of my musical library. Jiminy!

So here's the scoop with Illinois--or, Sufjan Stevens invites you to: Come on feel the ILLINOISE--he's hiked back up the mountain from the sparsely composed valley of banjo-picked melodies that was Seven Swans to the heavily arranged, deeply layered compositions more akin to his first state recording, Michigan.

The songs on Illinois are expansive, soaring, delightful musical pieces that tell of the culture and history of the state through story-like, wordy lyricism that just oozes legwork and close study--it'll take you many, many listens and a careful reading of the lyrics to catch each and every minutia of detail trapped within this record. But thanks to the poetic and wonderful sounds throughout the disc, you aren't required to do so; here's an historical, cultural and geographical lesson that's available for the exploring, but if you wanna sit back and just enjoy it, be Sufjan's guest. Illinois is as fun as a theme park, yet as rich and cultivated as a museum.

I loved the stark simplicity of the melodies within Seven Swans, yet found myself a little disappointed on the first few spins of Illinois. This is primarily a jumpy, brass-and-string filled, choir-loud recording, only a few tracks really devoted to the more quiet concepts from Sufjan's previous work. But after giving the record a fair chance, I've come to realize that this is a gorgeous recording, a work of serious beauty even within its precocious conceptualization.

"To the Workers of the Rock River Valley Region" (whose full title is actually about twice as long) and "The Black Hawk War" (whose full title is actually about five times as long) are stunning instrumentals, full and magnificent and inspired. More traditional songs such as "Chicago," "Jacksonville," and "The Predatory Wasp of the Palisades is Out to Get Us!" rank amongst his most effective work to date, overflowing with striking melody lines and instrumentation that wraps comfortably with Sufjan's signature heart-tugging vocals and lyrical narratives.

Sufjan presents his Christian faith in Illinois in ways that, though relatively subtle, feel natural and honest. The "great I Am" tells him to appreciate his step-mother in "Decatur," the fact that all have fallen short of the glory of God is presented in "John Wayne Gacy, Jr. ("And in my best behavior / I am really just like him / look beneath the floorboards / for the secrets I have hid"), and numerous other Biblical references and symbolism are scattered throughout. Nearly every song has multiple angles and themes playing off each other, be they historical, moral, or spiritual, but amazingly they never clash or feel overdone.

Though not the first entry into Sufjan's "The 50 States" concept, Illinois feels every bit as ambitious as Michigan--he announced the concept some time ago after the release of that project, and while most everyone wished him well (some, including myself, with the shade of a smirk), we now truly know that he's serious about it. He's actually followed through. Rumors of two more entries into the series are already circulating: a possible Christmas record and an EP of one of the smaller states, both supposedly coming by the end of this year. Hopefully I won't be old and deaf by the time he treks across to the West Coast and covers my home state, but for now, best wishes from the Pacific to Sufjan, and here's eagerly awaiting the rest of the series.

Jonathan Avants 7/14/2005

What's not cool about Sufjan Stevens?

His Turkish first name is so cool that it's the only part of his moniker needed for his website's URL. He's an alum of one of the trippiest bands ever, the Danielson Familie. With Illinoise, he's 1/25 done with his 50 States album project (his Michigan homeland came first).

If his 2004's non-geographically thematic Seven Swans gave him household recognition in the indieground, Illinois crowns him the scene's man of the hour. And if most arbiters of hip could give a toss for Stevens' Christianity, they're respecting his artistry.

Some of his brilliance comes from morphing his old Fam's idiosyncrasies for broader consumption. The Danielson clan (Daniel Smith and wife Elin sing back-up and clap on "Decatur")  has mastered a sound that defies sell-out, but Stevens has built upon it considerably to nigh orchestral proportions. I count at least 19 different instruments Stevens plays himself. Then there's the string quartet playing on six of the album's 22 pieces. 

That instrumental and compositional sophistication melds multiple genres until it becomes a singular thing. It's as much about as the gossamer melancholy of the saddest singer-songwriters, the string jabs of the fiercest blaxploitation movie soundtrack, classical systems music at its most mesmeric, and Americana incapable of getting any more rustic. 

Though Stevens poured research into his study of Lincoln State history, a deeply theological mindset pervades his songwriting. That said, the album hits an early emotional high mark with "John Wayne Gacy, Jr." 

With tender melody and sympathetically biographical lyrics, Stevens finds it in him to relate to the late pedophile-murderer by declaring that he has secrets under his floorboards, too. The heart is evil above all things, yes?

Other character studies ("Casimir Pulaski Day," "The Tallest Man, The Broadest Shoulders") and vignettes ("Chicago," "The Seer's Tower") give the impression that Stevens work would translate easily to stage or screen. Maybe something could be staged at Illinois' Cornerstone festival, as he seems to be giving it an elliptical namecheck by titling one of the set's short instrumentals "Let's hear that string part again, because I don't think they heard it all the way out in Bushnell."

As a multi-instrumentalist-arranger, Stevens' senses of texture and layering Phil Spector and Brian Wilson's Breach Boys prime. His songwriting rivals the insight of Larry Norman or Mark Heard. Swarthy good looks as boyish as his singing voice is sincere complete the picture. What chance does he stand among his kin in faith on Christian radio? Don't turn blue holding your breath on that hope. Stevens' literacy and manifold complexities would nonetheless befuddle a CCM public accustomed to, and likely ever seeking, simplicity in sentiments and sounds. Never mind his penchant for delightful choral harmonies and instantaneously indellible melodies. 

That leaves Stevens more in a culturally prophetic role. People with no use for Jesus are enjoying how he uses the talents Christ has given him. Without preaching, his songs subtly, or more boldly, sermonize. Stevens is more than sharp enough to get away with it.

Jamie Lee Rake 8/28/2005

The first time you hear Sufjan Stevens it might bring to mind a Bob Dylan phrase that I am sure was in no way directed to Third Way’s editor, “Something is happening but you don’t know what it is, do you Mr. Jones.” Stevens belongs to a little triumvirate of artists, the others being the Danielson Famile and Half Handed Cloud; avant-garde performing songwriters who bring a slapstick musical humor to heavy Biblical themes. My friend Denison Witmer had recommended Stevens’ Michigan album as the album of the year a few years ago and when I added to the concert I’d just seen by the Danielson family I knew indeed something must be happening but I had no clue as to whether it was good, bad or brilliant.

Michigan was Stevens’ first album in an ambitious series that will cover all the States of the Union. Before the second in the series, Come On Feel the Illinoise, landed on my mat I’d seen Stevens’ live, which had given me a few big clues to what was going on even though the band wearing fluffy angel wings and little halos did nothing for my suspicions of madness. By the time of Illinoise, though, Witmer was not the only one waxing lyrical. Raving reviews were littering the media including Rolling Stone and he was the featured album of the month in Virgin Records across North America. 

So what is happening Mr. Jones? Well, Stevens went to music school at Interlochen Arts Academy for a year when he was 14 to play oboe and study reed making. Musically, this is layered, original and simply cluttered with fascinating composition, full of orchestral interruptions, heavenly harmonies and melodies that lurk in the seeming chaos in order to sneak out and grab you with perpetually beautiful hooks. 

He later studied a creative writing program at the New School in New York and there is a literary strength to the eccentricity of his quirk. Long song titles and fascinating song ideas indicate that what is happening is educated and crafted. __Illinoise__ has songs about Presidents, UFOs, child killers, friends dying of bone cancer and a two minute instrumental that has a 50 word title with four options as to what to call it.

Even more interesting in his story of intrigue is that Stevens is a Christian who has never even thought about going under the radar about it in his work or in interviews. Illinoise has God reaching down and pilgrims reaching up. God’s part in the deal is taken as real and as omnipresent as God can be. God is the one who holds things together and makes all things new but when friends pray for their sick friend at the “Tuesday night Bible study” (surely a unique line in the rock canon!) the friend still dies:

All the glory that the Lord has made
And the complications when I see His face
In the morning in the window
All the glory when he took our place
But he shook my shoulders, and he shook my face
And He takes and he takes and He takes…

As is the entire piece. Something is happening here and once you listen enough times to navigate the myriad of currents you can suddenly realize what it is ­ the arrival of a new genius.