Sufjan Stevens - The Age of Adz

Click here to hear the entire album for free.


The Age of Adz is an ambitious record.

OK, that might be a bit too straightforward, but Sufjan Stevens' latest album is almost nothing like his previous 4 studio efforts. He's taken a completely different direction, most notably with electronics, and has completed an album which soars far above my expectations.

Admittingly, I may have gone into this album relatively close minded. I love Stevens for Illinois, Michigan, and the underrated Seven Swans; but even I must admit that I really want him to get back on track with the Fifty States Project.

Most fans can agree with me here. When it was announced that Stevens was releasing a triple LP Christmas album, we laughed and wondered what that crazy Sufjan would do next. When he re-released his Chinese New Year album, we quietly accepted it. When he released the BQE, we sighed and moved on.

Don't get me wrong, Stevens has yet to release a legitimately disappointing album, but I think I can speak for everybody in saying that I wanted something new. And by something new, I mean a studio album.

This all changed last month, when Stevens surprised everyone with the sudden release of the All Delighted People EP. At 60 minutes, it's hardly an EP, but it did provide the indie rock community with a great record.

And instead of making the fans wait any longer, Stevens announced the release of The Age of Adz shortly thereafter. The Age of Adz would mark his first studio full length in 5 years, the first since Illinois.

Yes folks, the Fifty States Project is presumably dead, and I really don't give a fuck.

The Age of Adz is essentially Stevens' Kid A: an album that utilizes the studio as a means of advancing the album to new territory. Unlike the folksy Illinois, The Age of Adz is full of electronic drums, synth bleeps and bloops, and even auto-tune. Yes, auto-tune, the much divisive pitch correction tool. Stevens doesn't care though, he'll find a way to make it sound great.

The amount of production that Stevens puts into this album is almost crowded, leaving hardly any room for a listener to dissect certain songs on a first listen. It's true. At times, you'll be blasted with a barrage of synth, glitchy cuts, vocal choirs, drum fills, guitar solos, electronic bass drums, flurrying woodwinds, demonizing horns, and fuzzed out guitar wankery. Stevens uses this well effect well though; both as a means of crescendo, as well as a nice contrast between the verses and choruses. Take "I Want To Be Well" for example: there are multiple times where the song builds up only to drop out to just Stevens and his good ol' guitar; In fact, these parts are arguably the quietest on the album.

Lyrically, it's clear that Stevens is heart broken. On the somber opening track "Futile Devices", Stevens admits he can't tell a girl he loves her. On "Now That I'm Over", Stevens sings "I wasn't older yet / I wasn't wise, I guess / Somewhere I lost whatever else I had / I wasn't over you". He's hurt, frusturated, pissed off, and it culminates in the fiery conclusion of "I Want To Be Well", where he repeats the phrase "I'm not fucking around" while the songs builds up into a fiery inferno.

The last song, "Impossible Soul", clocks in at a little more than 25 minutes. As far as indie-rock standards are concerned, it's quite lengthy. This is Stevens at his best though. The song is made up of 5 different movements, including a haunting middle piece which is fronted by Stevens singing in auto-tune backed by a chanting choir. A piano faintly plays in the background, weird electronical glitches zoom in and out; if there is a comparison as blatant as this to Kid A, then I don't know what else to say.

"Impossible Soul" ends with a beautiful 3 minute guitar piece. It really is captivating; something that will surely bring the new and the old fans together. And while this may be a bittersweet ending,I don't think this album could end any other way.

I guess we'll have to wait and see if fans of Stevens' folk albums will appreciate this turn in style. There's no doubt it will turn away many, but it goes without saying that this will definitely bring more people in. The Age of Adz is a remarkable achievement from a man who's released his fair share of indie-rock classics. Whether he keeps this electronic sound or not, it's clear that Stevens' doesn't want to be categorized as that guy who makes albums about states. He's definitely changed, and The Age of Adz proves it's for the better.

Royal Forest - Civilwarland

"Civilwarland" beings with a dingy, held down synth backed by a basic 4/4 drum beat. Needless to say, I starting to become a tad inattentive.

Then, there's a sudden break.

The synth and drums drop out, and the guitarist makes his debut; he plucks a welcoming riff, an almost direct contrast to the abrasive synth. The vocalist falls next in line "All our life / the butter knife / will melt inside / this house". The bass drum starts pounding, my foot begins to tap along; who knew, there was a gem hidden in this track.

There are many sporadic moments, drawing comparisons to Modest Mouse and Cymbals Eat Guitars. At one point, the song even goes blank. The singer softly sings away from the mic, his voice peeling away at your anticipation for a climax. It's all too predictable, as we're answered with an admirable conclusion that's entirely satisfying.

Although nowhere near perfect, Royal Forest have made a great debut of an album. You can download the entire album for free here, or you can stream the tracks above.

Deerhunter - Desire Lines

"Desire Lines" is the latest masterpiece from a band that just can't learn to take a break.

There will be a lot of comparisons to "Nothing Ever Happened", and I think that's perfectly all right. "Desire Lines" has the same formula, a slow, climbing riff that eventually extends into an outlandish jam. It's all held down by Josh Hauver's relentlessly addictive bassline, which the band plays against for 3 minutes. Incorporating many shoegaze elements from the band's past, Deerhunter has reached new territory in terms of melodic ecstasy. If that's not enough, Lockett Pundt surprises us all with an astonishingly professional voice. Deerhunter hasn't sounded so impressive until now.

Nails - Unsilent Death

I've seen my fair share of metal fanboys. Unfortunately for the genre, it's overrun with power-metal obsessed nerds and neckbeards who find Cannibal Corpse to be "fucking hardcore".

Well fanboys, meet Nails.

It terms of the Brutal scale, this will surely pull off a 10. The harsh, growling vocals and the callous, whining guitar is just startling. Hell, I couldn't help but sit back a few times and stare off, wondering if I was actually listening to a song or rather some guy getting the piss beaten out of him.

The songs are short and punishing. There are hardly any breakdowns. At any moment where you think the song will stray off into a brief, lucid section, you'll be met with an abrupt wall of concentrated rage.

At only 15 minutes long, this album flies by. But that doesn't mean the impact isn't there. This is a must for fans of heavy shit.

Nas + Godspeed You! Black Emperor - It Ain't Hard To Tell (Four Tet mix)

The other day I was browsing youtube when I stumbled across the above video, a mix of Godspeed You! Black Emperor's "Sleep" and Nas' "It Aint Hard To Tell". The mix, created by Four Tet, combines arguably two of the most influential songs from their respective genres, fusing them together to create a track both engaging as it is unique. The reaching climax from "Sleep" accompanied by Nas' staggering lyricism fit all too well, provoking the question as to what an entire album of Nas+GSY!BE would sound like. Get on that Four Tet.

Blackbird Blackbird - Pure (Music Video)

Blackbird Blackbird – Pure (Official Music Video) from Isaac Bauman on Vimeo.

Filled with abrupt cutback techniques to birds, kaleidiscopes, and a girl that looks like a cross between Mary-Louise Parker and Linda Cardellini (ie: gorgeous); this is a worthy music video to one of my favorite songs of the year.