Sufjan Stevens
The Ascension

THE REVIEW

Last Friday, the long-awaited "The Ascension", the latest effort of the eclectic Sufjan Stevens, was released. What strikes from the very beginning, that is, from the splendid opening track "Make Me An Offer I Cannot Refuse," are the sophisticated arrangements and the masterful use of electronics that paint sound worlds of dazzling beauty. We are therefore far from his folk-acoustic production, like the indispensable "Illinois" or the notable and "bare" "Carrie & Lowell" from 2015; it is no coincidence, in fact, that guitars are practically absent. Each track has inspired and never trivial lyrics (especially the title track) and is full of unexpected sound solutions that leave the listener astonished. The central part of "Landslide" is emblematic in this regard, which substantially changes the direction of the piece. Dreamlike atmospheres (predominant in reality) alternate continuously with more challenging ones, yet always very refined. You can find the Depeche Mode in some moments ("Death Star") but also the Bjork of "Homogenic" in others. But these are just references; the album is very personal and never derivative. Even in moments I would dare to say almost pop ("Video Game"), the result is always of the highest standard. "Sugar," with its seven minutes, is one of the artistic peaks of the entire work, while "America" is the worthy conclusion: expansive and "open." Beyond subjective tastes, I find it difficult not to be captivated by "The Ascension," yet another great work for this versatile artist who, album after album, has rightfully earned a place among the greats. It's hard to say already where this album stands within Stevens' discography; probably it is among his most successful works in terms of ambition, sound, and themes (we are still talking about a career that is now two decades long, so far absolutely excellent). In conclusion, for me, together with Apple's latest and a few others, one of the albums of the year.