Sufjan Stevens’ long awaited album, Carrie and Lowell, was released on March, 30, 2015, becoming his largest debut yet with over 53,000 albums sold.
The 39 year-old indie folk artist and Midwest native is dropping jaws with this release.
This album was highly anticipated due to Stevens’ style deviation, which took place after 2009’s Run Rabbit Run. In “All Delighted People” and more notably “Age of Adz” Sufjan takes an electronic turn, losing his acoustic intimacy his listeners had grown to cherish. Carrie and Lowell was rumored (before its release) to return Stevens to his original style as seen in albums such as 2003’s Michigan, 2004’s Seven Swans, and 2005’s Illinois. Carrie and Lowell, named for his parents, is quite possibly Steven’s most honest and intimate record he’s shared with us yet.
Stripped of everything but a beating heart and guitar, Stevens examines his childhood, his family, and death therein. Carrie and Lowell is evidently a cathartic release for Stevens and his damaging and chaotic young life.
Despite the tragically vulnerable form he takes in this album, Stevens manages to maintain a sweet, lighthearted, nostalgic sound throughout each track. He guides us through each painful memory with a silver lining, noting the light at the end of the tunnel in every woeful confession.
For example, in “No Shade in the Shadow of the Cross,” Stevens admits to defeat, loss, and confusion in one colloquial phrase that gives him humanity: “Fuck me, I’m falling apart.” Surrounded by poetic metaphors and profound contemplation, this one phrase will both tear your heart in half and keep you listening to Carrie and Lowell, out of simultaneous sensesof curiosity and understanding.
Carrie and Lowell is a battleground of Stevens’ memories, good and bad. It represents complex matters of humanity through his confrontation with reality, God, life, and death. Sufjan Stevens is currently touring this recently released diamond of an album, and he will be stopping by Chicago Theatre on April 24 and 25.
On May 4, Mumford and Sons will finally be releasing their third album, and they are ready for a change. Mumford and Sons quickly established a specific sound for themselves, while maintaining both popularity and authenticity in their music. In their case, it was done circa 2009 on Sigh No More with numerous string instruments paired with harmonious “aaaahhhh’s.”
However, upon the announcement of the upcoming album Wilder Mind, the band confirmed that they will be moving on from their trademarked acoustic sound. They want to evolve as artists and reach their full potential; this is done by pushing limits and trying new styles.
As a fan and bluegrass enthusiast, I worried for the integrity of this new album. I have always been drawn to them for their unique, acoustic, and rawtalent sound. The idea of a change scared me. Mumford’s newly released singles are “Believe,” which topped charts for weeks, and “The Wolf,” performed on Saturday Night Live on April 12, 2015. Based off of these two released songs, the band has done a surprisingly remarkable job maintaining their authenticity as artists with the use of mostly electronic instruments.
They have successfully proven themselves to be versatile artists, with Marcus Mumford as the lyrical backbone of the group. The two released singles mark Mumford and Sons to be evolved and multitalented artists and their new album, Wilder Mind, should only hold ample proof.
