Posted on May 27, 2009 - by Isah Alexandra

of Three Chicagos and an Avalanche

His voice has the tendency to silence any lull; dampen the spin of any room.  Indie genius Sufjan Stevens is a lyricist capable of narrating souls and a musician able to meld intonations into thoughts.

“The Avalanche“, released in 2006, is comprised of the musical outtakes from his fifth album, “Come On Feel The Illinoise”. Although it has received a lesser acclaim for this reason, the album itself is a rare jewel of carefully experimental indie folk.

The most moving track is one without lyrics.  “The Undivided Self (for Eppie and Popo)” is a minimalist work with a disjunct melody driven by the glockenspiel.  This gently percussive melody slowly weaves into the fabric of the harmonies: dissonances on electric guitar, synthesizer, voice, and piano.  These enter as gradually as they exit, making a sweeping crescendo to a mezzo-forte in a moderately anticlimactic center.  The piece itself must be viewed as more of a melodic experience rather than a typical song.

Another highlight of the album is its three versions of Stevens’s most well renowned song, “Chicago”. The first, Chicago (Acoustic Version), employs a soulful juxtaposition of hollow acoustic guitar against beautifully reedy vocals.  “Chicago (Adult Contemporary Easy Listening Version)” is nearly the same experience, but with the addition of snare drum during each repetition of the opening section.  The third, “Chicago (Multiple Personality Disorder Version)” is rather disconcerting, with violently Technicolor aural imagery and pitch discrepancies that may cause a digestive malfunction.  Notwithstanding, the intent of the song is heard clearly through its execution.

“The Avalanche” is an album that must not be overlooked.  To piece together songs of such contrasting beauty and vitality in an album of outtakes is the work of a mastermind.  Sufjan Stevens has done it again, a true genius in his element.

Sufjan Stevens – “The Avalanche”

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