Sufjan Stevens – The Ascension

Disclaimer: I use Sufjan Stevens's first name throughout the analysis here because it is iconic, which I thought was more appropriate.

Indie-folk legend Sufjan Sevens finally gives us his eighth studio album The Ascension, the long-awaited successor to arguably his most essential album Carrie & Lowell. On this new record, Sufjan leaves the acoustic-heavy instrumentals of his last project, and focuses on electronic production and experimentation, much like his The Age of Adz. He immediately plunges the listener into a musical journey that is independent of his other works. The Ascension becomes a statement about Sufjan’s concerns of toxic worship and ideology. Make Me an Offer I Cannot Refuse grasps me right away, taking me through a portal of vibrant sound effects and ascending instrumentals. He mentions a radical dream that suggests the radical re-imagining of society that is necessary if the social climate is to be changed. “Shall you abuse me? / Show me the grace of a natural king / Lord, I need deliverance;” this quote sets up the worries of idolatry Sufjan will discuss throughout the album. Track-by-track analysis:

Run Away with Me – The record calms down a little bit after that cinematic introduction. This track is lyrically repetitive, but the musical structure is well-made and the single guitar strums make the atmosphere more euphoric. Sufjan calls love to come run away with him from “they,” which can refer to different religions or institutions that influence it too much.

Video Game – This sounds similar to a game soundtrack; Sufjan does not want to play in someone’s video game because he would be the main character, the player’s “personal Jesus.” The instrumental is synth-heavy, light, and playful. He also doesn’t want to play the game and “put the devil on a pedestal” (an allusion to the 15th card of the Major Arcana) or be Julius Caesar (back-stabbed by people close to him when he gains power).

Lamentations – The production is funky and focuses more on noise effects made from vocals. Two-thirds of the way through the song, the instrumental becomes more choral and grander, eventually departing from the electronic sound.

Tell Me You Love Me – Sufjan incorporates instrumentation from Aporia, the instrumental album that he and his stepfather Lowell Brams released in March. The song spirals into a phenomenally immersive love as he barrages the listener with “I’m gonna love you.”

*Die Happy – Oh my god. I hope Sufjan’s ok. Just kidding; I think he is mentioning the contemplation of death and the sadness that comes with it from the previous song. He does not want to die sad; he wants to die happy. The track becomes a showcase of Sufjan’s production skills; it descends into electric fuzz and ends with some angelic vocals that are quickly cut short.

*Ativan – Sufjan begins with a description of a traumatic, illness-like experience as he curls into the fetal position to avoid further suffering. He alludes to serial killer Buffalo Bill from “The Silence of The Lambs” who uses lotion to keep his victims’ skin soft, so it can be used for a skin suit. The lyrics all congregate on this fast-paced, multi-phased six and a half-minute song. The production continues to be even more creative and the orchestral strings sound amazing in their conventional sound and also when they are intentionally dissonant.

Ursa Major – Titled by the large bear constellation, Ursa Major is a track that addresses God a lot. The first two lines make the connection between the permanent nature of the constellation with the supposed everlasting love of God. Sufjan also mentions his privacy when he says, “I’m not one for controversy.” This refers to his rare outspeaking through an essay of his political issues with Trump in February 2017. “You must eradicate all the corrupt theological fear-mongering they preach from the pulpit and from behind the political podium. Get real and get right with God (Sufjan’s essay).”

Landslide – The instrumental on this song revolves around these very light metal sounds; the sounds are very subtle but are a little ear-piercing and can get annoying. When the chorus starts, there is this landslide of electronic noise that reminds me of pilotredsun.

Gilgamesh – The title of this song alludes to the Epic of Gilgamesh, where Gilgamesh fails his quest for immortality. There are many deep references to the story, telling the story through song. Another ear-piercing metal sound appears on the instrumental here, and it is even more unbearable (maybe depends on speakers or headphones?); whatever reason Sufjan had to use this, it adds nothing.

Death Star – Sufjan highlights the fact that humans are perpetuating themselves into their own demise by wreaking havoc on the environment. He makes a strong allusion to the beheading of Jon the Baptist in the Bible. The song is accompanied by some light, catchy, and creative production; the atmosphere is very cosmic.

Goodbye to All That – Same vibe as Video Game as the track sounds like a game soundtrack, except for that horrible metal ringing (I seriously do not know why Sufjan would want to include it). He is obviously saying goodbye to something here, but what he is saying goodbye to is up to interpretation. Many signs point to addiction (use of words like “intoxicated,” “vertigo,” and “afterglow” may suggest it).

Sugar – A seven and a half-minute experience, Sugar is about the desire for goodness and purity guised as a sequence of cliches. On Asthmatic Kitty’s website, Sufjan explains, “now is the time to gather what is good and pure and valuable and make it your own and share it with others. Feed your soul and speak new life into those around you.”

*The Ascension – We have made it to the title track; Sufjan starts by recalling St. Augustine of Hippo’s Confessions. He talks about this prophecy that has invited him to join it, and answer for himself “as the Ascension falls upon [him].” A truly deep reflection on Sufjan’s perspectives in life, he makes sense of the mess that is the world while demeaning his past angry/depressed self, criticizing others, and giving up on changing the world. But at least he knows the truth now, strengthening himself while the “you” he addresses “killed it off with all of [their] holy mess.”

America – This song is a clear protest against “the sickness of American culture in particular,” according to Sufjan. This is a great song, and it was the original teaser song for the album, so I can only see it as a bonus song. The Ascension feels like the true ending.

In summary, I would describe this album as Sufjan’s existential journey into the meaning of faith, and the interaction of truth and religion. He makes an extreme amount of allusions on this record such as parts from the Bible, Julius Caesar, Buffalo Bill, Epic of Gilgamesh, St. Augustine of Hippo’s Confessions, and many more. Sufjan reflects on his depression, love, addiction, views on politics/social change, and the general notion of the world being an absolute mess. Ultimately, he concludes The Ascension with a bonus track-esque protest song against “the sickness of American culture in particular.” For a five-year LP hiatus, this project was worth the wait. All of Sufjan’s lush and layered production is meticulously thought out and carefully executed on each track. The only element that I dislike about this album is the ringing metal sounds that appear on some of the tracks in the latter half of The Ascension. Overall, amazing listen.

Favorite tracks: Die Happy, Ativan, and The Ascension

Least favorites: Gilgamesh & Goodbye to All That

Score: 8.7