Sufjan Stevens
Seven Swans

THE REVIEW

"Seven Swans" is a precious treasure chest guarded jealously, an untrampled velvety carpet, a delicate crimson expanse of rose petals, the intoxicating essence that fills the mind with images of lands so far away, so unattainable; its melody is an incarnation of classicism and elegance, an encrypted love story, like a caress that fills the morning awakening, awaiting a day bombarded with commitments, a desired massage that fervently implores "relax," to welcome a calm night, dreaming of desires covered in gold and a thousand enchanted tales, just look at its cover, the swan, a winged image of freedom and beauty.

In the history of music, there are Artists who make a difference, Sufjan Stevens, in his Albums, is the shining example, I make no distinctions in describing them, they all present themselves in the same manner once listened to, they take root in feelings, like the spontaneity of "Greetings From Michigan" or the eclipsed "Come On Feel The Illinois" or the warmth of "Songs For Christmas," and for the most part, subsequent listens can hardly be denied. Songwriting that shows no signs of artistic decline or absent "disappointments," but believes in itself and in its dialogue with people, as a tribute for what it has been able to instill.

A man who says he does not consider himself a Christian artist and does not want to carry this "religious affiliation" to avoid confusion or misunderstandings for those who listen to him, but on the contrary, manifests music that comes solely from his heart, even if the lyrics are religious-themed; it is simply what he deeply feels, and he sees music as a means of expression in a cultural-artistic sense but not fundamentally religious. For this reason of seeing and feeling things, that is, his music, in America, his Albums have become the subject of thematic discussion, comparing them to Mel Gibson's film "The Passion," where religion-art intersects explosively and uncontrollably, and where, instead, history-art dissociates, even though it is obvious and fundamentally confirmed that religion has always been a means of artistic inspiration.

An Album that offers 45 minutes of temporary contemplation, demanding the utmost surrounding silence, a clear mind, and a body fully inclined to total relaxation, where mind, words, and sounds become one, compact, intimate, clean, and communicative. This lullaby stands out to demonstrate the profound sensitivity of a young man passionate about the stories of one of the most important authors of the 20th century, Flannery O'Connor, from whom he draws the fruits of inspiration.

There are tracks of extreme instrumental greatness, vocal and sporadic imperceptible percussion like "Sister," the exaltation of the mastering banjo, illustrious and uncontested primary instrument in "In The Devil's Territory," a soft lullaby-like opening "All The Trees Of The Fields Will Clap Their Hands," the repeated refrains "The Dress Looks Nice On You," a heartfelt duet between banjo and guitar in "We Won't Need Legs To Stand," and a stunning duet between the lone voice and a simple, "poor" guitar in "Abraham," in short, this "solo" voice manages to enrich an entire array of instruments played by Sufjan himself, becoming a complete essence, yet not forgetting the entire "Smith" family ensemble for voices, instruments, recording, and production.

Sufjan Stevens, a wellspring of lightheartedness.