Posts Tagged ‘Sufjan Stevens’

The song title’s reference to stable ground is upended as reality is seen slipping away and replaced by manipulations or mediations. Against the backdrop of today’s political, economic, and environmental climate, the material world is distorted beyond recognition and the “screen” has become our most reliable means of community and communication, acting as an interface between us and lived reality. Closing with the line “all is all of it now,” the song gives expression to the contemporary experience of totalizing media and the enduring desire for finding connection to others in a world that privileges other values.” – CARM, CARM is the debut self-titled album of multi-instrumentalist, producer, and arranger CJ Camerieri. Whether it’s playing the iconic piccolo trumpet solo on Paul Simon’s “The Boxer;” anthemic horn parts on songs like The National’s “Fake Empire,” Sufjan Stevens’ “Chicago,” or Bon Iver’s “For Emma, Forever Ago;” or performing with his contemporary classical ensemble yMusic; or recording lush beds of french horns for artists from John Legend to The Tallest Man on Earth, you have undoubtedly heard the virtuosity of Camerieri.

He is the musician that musicians want to play with, and that is further evidenced by the cast on his debut. Since completing his classical trumpet training at The Juilliard School and quickly joining the touring band for Sufjan Stevens, Camerieri has played trumpet, french horn, and keyboards for some of the most important artists of our time. He founded the classical ensemble yMusic, joined Bon Iver—winning two Grammy awards for the band’s sophomore album and became an integral member of Paul Simon’s touring band in 2014, assuming a pivotal role in the legend’s last two records. According to Camerieri, “CARM started with the question: ‘What kind of record would my trumpet-playing heroes from the past make today?’ I believe Miles Davis would want to work with the best producers, beat makers, song-writers, and singers to create truly culturally relevant music, and that’s what I sought to do with this project.” The record was produced in Minneapolis by Ryan Olson (Gayngs, Polica, Lizzo) and features collaborations with Sufjan Stevens, Justin Vernon (Bon Iver), Yo La Tengo, Shara Nova (My Brightest Diamond), Mouse on Mars, Jake Luppen (Hippo Campus), and many others.

It is a completely unique sound that additionally serves as a survey of the many collaborations that have come to define the artist’s career thus far. The album begins with an orchestral brass choir of french horns, which quickly gives way to a piano sample of Francis and the Lights, as Stevens and Luppen combine voices over a lush bed of horns to sing “Song of Trouble” The album bookends with the same piano sample used as a springboard to a beautiful and iconic lyric by Vernon in the album closer “Land” Between these two generation-defining artists we have the upward sweeping melodies in “Soft Night” fanfares reminiscent of Ennio Morricone in “Nowhere” and the uncompromisingly original sound of Georgia Hubley and Ira Kaplan of Yo La Tengo in “Already Gone”.

Two dark and mysterious journeys in “After Hours” and “Invisible Walls” give way to the virtuoso sound of Nova’s voice, who the artist stood side-by-side with in his first Sufjan Stevens tour over a decade ago. “Slantwise” and “Scarcely Out” take us back down a more experimental path before the strings from yMusic members Rob Moose and Gabriel Cabezas bring us back to the piano sample that started the record. Given the oversaturated contemporary music market that often recycles well-trodden sounds, CARM offers a respite for those seeking an original voice.

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Released January 22nd, 2021

Produced by Ryan Olson and CARM. Featuring guest vocals by Sufjan Stevens, Shara Nova, Justin Vernon, Georgia Hubley, Ira Kaplan, Lupin, Cliff Rhymes, and Benson Ramsey.

Also featuring Mouse on Mars, Francis Starlite, Jake Hanson, Mike Boschen, Chris Bierden, Mark McGee, Amati, Joe Westerlund, Dustin Zahn, Alex Nutter, Trever Hagen, Nick Camerieri, Hideaki Aomori, Mick Rossi, Bryan Nichols, Rob Moose, Gabe Cabezas.

The first single from the debut album, out 22nd January 2021 with 37d03d Records

CARM

Carm (aka yMusic co-founder CJ Camerieri) is one week away from releasing his guest-filled self-titled album, and you can read more about this song with Sufjan Stevens. due January 22nd via 37d03d Records, which features appearances by Bon Iver’s Justin Vernon, Sufjan Stevens, My Brightest Diamond’s Shara Nova, Mouse On Mars, and Yo La Tengo’s Georgia Hubley & Ira Kaplan. CJ already released the songs with YLT, Justin Vernon, and Shara Nova, and today he’s unveiled the song with Sufjan Stevens, album opener “Song Of Trouble.” Sufjan penned the lyrics and sings lead vocals on the song, and it’s a gorgeous song that’s on par with anything Sufjan would release on one of his own albums.

Sufjan’s use of orchestral instruments helped set the stage for everything I’ve done in my career,” says CJ. The song comes with a video featuring a painting by Nick Weber, and of that CJ says, “I’m struck by how Nick’s work balances a contemplative hopefulness with an intrinsic sadness. It seems super in line with this song and incredibly poignant right now. I’m proud of how Sufjan’s lyrics powerfully begin the record.

Justin Vernon also added on Twitter, “I’m so excited you can hear this song, by Carm, I’ve listened to over and over for years now. These lyrics may actually be the strongest lyrics I’ve ever heard from the master Sufjan. Aaaand maybe just a bit on point for these times.

Sufjan Stevens is a singer-songwriter living in New York City, It was only a matter of time before the musical trickster in Sufjan Stevens returned after the stripped-down, soul-baring Carrie & Lowell. But while it may be overstuffed with ideas, The Ascension is far from the old precious orchestral ornamentation of Illinois. Stevens creates massive, complex soundscapes from electronic scraps of sound here—call it his digital orchestra. He isn’t interested in being clever (with the possible exception of the on-the-nose, Rx name-dropping “Ativan”), instead letting these sprawling tracks reflect simple emotions (the detachment of “Video Game,” the morose come-ons of “Sugar”) or pointed political commentary (the epic “America”). As usual, Christianity is never far from his mind (the title track is a kind of personal hymn), but Stevens isn’t trying to proselytize—he wants to take us deeper than ever into his own spiritual journey.

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Released September 25th, 2020

All songs performed, recorded, engineered, arranged, mixed and produced by Sufjan Stevens, with additional contributions (*) recorded and engineered by James McAlister and Casey Foubert at their respective home studios.

The new record from Sufjan Stevens as he returned with new single “America,” the first offering from his upcoming album “The Ascension”.

He’s recently officially released the b-side of “America,” the equally lengthy 10-minute track “My Rajneesh.” It’s another sprawling epic that even goes back and steals from himself, using the flutes from Age Of Adz track “Vesuvius.” It’s another stunning offering from Stevens, maybe even the better of the two tracks and it’s just released as a b-side. Which makes us wonder how good the rest of the songs on The Ascension must be.

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Enjoy a listen to “My Rajneesh” .

The Ascension

Sufjan Stevens is releasing a new album, “The Ascension”, on September 25th via Asthmatic Kitty. When it was announced on Tuesday it was promised that the album’s first single, 12-minute long closing track “America,” would be released today. Accompanying the song is a video of an American flag slowly blowing in the wind. With a title like “America,” its timed release the day before July 4th is no accident and in a press release Stevens says it’s “a protest song against the sickness of American culture in particular.” ‘The Ascension’, the eighth solo studio album from singer, songwriter and composer Sufjan Stevens – and the long awaited follow-up to ‘Carrie & Lowell’.

“Don’t do to me what you did to America,” Stevens sings in the chorus. “Don’t do to me what you do to yourself.” A press release further says the song “is an indictment of a world crumbling around us—and a roadmap out of here.”

Stevens says The Ascension is “a call for personal transformation and a refusal to play along with the systems around us.” Could this be his protest album?

And while “America” may seem written for these times, it was actually written six years ago, prior to the election of Donald Trump, when he was working on his last fully fledged studio solo album, 2015’s Carrie & Lowell.

“I was dumbfounded by the song when I first wrote it,” Stevens says in the press release. “Because it felt vaguely mean-spirited and miles away from everything else on Carrie & Lowell. So I shelved it. “But when I dug up the demo a few years later I was shocked by its prescience. I could no longer dismiss it as angry and glib. The song was clearly articulating something prophetic and true, even if I hadn’t been able to identify it at the time. That’s when I saw a clear path toward what I had to do next.”

Stevens then re-recorded “America” and used it as a jumping off point for The Ascension.

The B-side for the “America” single, non-album track “My Rajneesh,” was also written around the same time. The two songs will be released as 12-inch single on July 31, with “My Rajneesh” getting an earlier digital release on July 10th, Musically, “America” is much closer to the experimental and disorientating sounds of his 2010 album The Age of Adz, rather than the more delicate folk of Carrie & Lowell.

Stevens recorded most of The Ascension himself, on his computer, and basing it around a drum machine and synthesizers. Stevens calls it a “lush, editorial pop album,” one that finds us all at a “terrifying crossroad.” “My objective for this album was simple: Interrogate the world around you,” Stevens adds. “Question anything that doesn’t hold water. Exterminate all bullshit. Be part of the solution or get out of the way. Keep it real. Keep it true. Keep it simple. Keep it moving.”

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Angelo De Augustine’s new single featuring Sufjan Stevens out now: Angelo De Augustine has shared a new track the beautifully contemplative “Santa Barbara,” released via Steven’s label Asthmatic Kitty. The track arrived in tandem with a music video self-directed by Augustine, featuring a glistening coastline and existential pondering. “‘Santa Barbara’ touches on the uncertainties and realities of being mortal in the landscape that we view through our experience; displaying ghostly apparitions, love, death, and a famous British novelist,” De Augustine told Rolling Stone. “It was a good experience to record this song with my friend Sufjan. I look forward to sharing more soon.”

Angelo De Augustine: “Santa Barbara” (Feat. Sufjan Stevens)

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Just in, and out Friday! New Sufjan Stevens 7”vinyl only “Love Yourself / With My Whole Heart”. Limited European exclusive tie dye splatter vinyl.

In celebration of Pride Month, Sufjan Stevens is releasing two new songs on the topic of love: “Love Yourself” and “With My Whole Heart,” available on limited-edition 7” vinyl and on all digital platforms. “Love Yourself” is based on a sketch Sufjan wrote 20 years ago. The original 4-track demo he recorded in 1996 is included as well as a short instrumental reprise. “With My Whole Heart” is a completely new song that Sufjan wrote as a personal challenge to “write an upbeat and sincere love song without conflict, anxiety, or self-deprecation.” Sufjan also designed a new Gay Pride T-shirt that is available on his new merchandizing platform Sufjamz. A portion of the proceeds from this project will support two organizations that offer help for LGBTQ+ homeless kids in America—the Ali Forney Center in Harlem, NY, and the Ruth Ellis Center in Detroit, MI.

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Limited edition 7-inch available June 28th..

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Sufjan Stevens has shared a new song, “Tonya Harding”, dedicated to “one of the greatest figure skaters of her time.” In an accompanying essay, Stevens writes, “Tonya shines bright in the pantheon of American history simply because she never stopped trying her hardest. She fought classism, sexism, physical abuse and public rebuke to become an incomparable American legend.”

The song is not associated with the new Harding biopic I, Tonya, starring Margot Robbie and Sebastian Stan.

Sufjan is reminding us what popular music can do, reminding us that art can tackle any topic it wishes, delivering even a poignant five-minute “biopic” of a disgraced American figure skating champion because why not. Pop music is not supposed to do portraiture, but who made them rules? The Tonya Harding story challenges us all to look hard at our own sexism and classism.

TONYA HARDING, MY STAR 
by Sufjan Stevens 

I’ve been trying to write a Tonya Harding song since I first saw her skate at the U.S. Figure Skating Championships in 1991. She’s a complicated subject for a song partly because the hard facts of her life are so strange, disputable, heroic, unprecedented, and indelibly American. She was one of the greatest figure skaters of her time, and the first American woman to perform a triple axle in an international competition. She was an unlikely skating star, having been raised working class in Portland, Oregon. Being a poor outsider, her rise to fame in the skating rink was seen, by some, as a blemish on a sport that favored sophistication and style. Tonya’s skating technique was feisty, fierce, and full of athleticism, and her flamboyant outfits were often hand-made by her mother (who was abusive and overbearing). (They couldn’t afford Vera Wang.) And then there was the Nancy Kerrigan incident. In January 1994, Tonya’s then-boyfriend Jeff Gillooly hired an assailant, Shane Stant, to break fellow figure skater Nancy Kerrigan’s leg at the U.S. Figure Skating Championships at Cobo Arena in Detroit, so that she would be unable to compete at the upcoming Winter Olympics. The after-math of the attack was recorded on camera and ultimately set off a media frenzy (and an FBI investigation). Gillooly and Stan were eventually found guilty, and Tonya pleaded guilty to hindering the prosecution, and was subsequently banned for life from the U.S. Figure Skating Association. Nancy Kerrigan recovered from her injury and won a silver medal at the Winter Olympics. Tonya Harding finished eighth.

But that’s not even half the story. When Tonya and Gillooly got married, they filmed themselves having sex on their wedding night and produced one of the first-ever celebrity sex tapes (which they sold to Penthouse for $200,000 each). Tonya also had a brief career as a boxer, and is most famous for her bout with former Arkansas state employee Paula Jones (whose sexual harassment suit against Bill Clinton precipitated his impeachment in 1998). Tonya was also (very briefly) in a band called the Golden Blades (they were allegedly booed off the stage during their first and only performance). She also raced vintage automobiles (setting a record by driving a Ford Model A over 97 miles per hours on the Bonneville Salt Flats in Utah). And in 1996 Tonya used mouth-to-mouth resuscitation to revive an 81-year-old woman who collapsed at a bar in Portland while playing video poker. That’s a lot to accomplish before the age of 30! 

Tonya Harding’s dramatic rise and fall was fiercely followed by the media, and she very quickly became the brunt of jokes, the subject of tabloid headlines and public outcry. She was a reality TV star before such a thing even existed. But she was also simply un-categorical: America’s sweetheart with a dark twist. But I believe this is what made her so interesting, and a true American hero. In the face of outrage and defeat, Tonya bolstered shameless resolve and succeeded again and again with all manners of re-invention and self-determination. Tonya shines bright in the pantheon of American history simply because she never stopped trying her hardest. She fought classism, sexism, physical abuse and public rebuke to become an incomparable American legend.

I admit, early drafts of this song contained more than a few puns, punch lines and light-hearted jabs—sex tapes and celebrity boxing make for an entertaining narrative arc. But the more I edited, and the more I meditated, and the more I considered the wholeness of the person of Tonya Harding, I began to feel a conviction to write something with dignity and grace, to pull back the ridiculous tabloid fodder and take stock of the real story of this strange and magnificent America hero. At the end of the day, Tonya Harding was just an ordinary woman with extraordinary talent and a tireless work ethic who set out to do her very best. She did that and more. I hope the same can be said of us all. – Sufjan Stevens

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Sufjan Stevens has shared a self-directed video for ‘The Greatest Gift’, a new track taken from his forthcoming mixtape of the same name, coming tomorrow via Asthmatic Kitty.
The Greatest Gift is a mixtape of outtakes, demos and remixes from Stevens‘ acclaimed 2015 album “Carrie & Lowell”. As well as demos and alternate versions of songs from the original album, the mixtape features four previously unreleased new songs, official outtakes from Carrie & Lowell.
The mixtape also includes a few alternate or demo versions of songs from the original album, including a ‘fingerpicking’ version of ‘Drawn to the Blood’ and a guitar demo version of ‘John My Beloved’, which Stevens recorded on his phone. The digital release also contains an iPhone demo of the song ‘Carrie & Lowell’.

Sufjan Stevens - <em>Carrie & Lowell</em> (Asthmatic Kitty)

Before the year was even two weeks old in 2015, we were greeted with the wonderful, news that Sufjan Stevens had an album on the way, a return to his “folk roots.” It was about time! After a run of three classics in three years — 2003’s Michigan, 2004’s Seven Swans, and 2005’s IllinoisStevens wandered around the wilderness for a decade, reporting back only with sporadic news . It was easy to imagine we’d lost him forever.

When “Carrie & Lowell” arrived in early 2015, though, we realized it wasn’t a return to anything. Like so many soldiers, convicts, and mystics, Stevens had been irretrievably altered in his time away. The guy who made Illinois was gone. On that record, Stevens occasionally tackled subjects such as substance abuse and mental illness and mortality (all three in the same song on “John Wayne Gacy”),

On Carrie & Lowell, Sufjan Stevens is directly singing about his own mother’s drug addiction, her schizophrenia, her death from stomach cancer. He’s singing about his own terror and sadness and loss — his own childhood, his own grief. There’s no glockenspiel, no grand concept; there’s little more than a finger-picked acoustic guitar and a whispering, quivering voice. And that voice doesn’t just sound haunted; it sounds like a fucking ghost. Listen to Carrie & Lowell on headphones, it doesn’t feel like Stevens is singing to you; it feels like he’s singing inside you.

It’s a discomfiting experience. Stevens’ most obvious musical touchstone here is Elliott Smith — another damaged person who wrestled with demons his whole life — but Carrie & Lowell is somehow even more devastating than any of Smith’s records. That’s partly because Stevens‘ soft voice is so prominent in the mix. Elliott Smith buried his vocals in layers, tangled them in knots; you can listen to an Elliott Smith record and just get lost in the loveliness of the sound if you don’t want to think about the ferocious pain conveyed in the words. Carrie & Lowell refuses you that option: You get trapped in the loveliness of the sound.

But Carrie & Lowell isn’t a morbid record, like the moments of Sun Kil Moon’s Benji, it is meditative, honest, and open. It claws at the world. It fights back at the darkness. It rips you to shreds and moves you to tears, but it’s not asking you to dwell on death — it is forcing you to experience life. And when I immerse myself in Carrie & Lowell, I’m engaging with every single verse, but here, now, I will engage only with this one, which closes “Eugene”:

“What’s left is only bittersweet/ For the rest of my life, admitting the best is behind me/ Now I’m drunk and afraid, wishing the world would go away/ What’s the point of singing songs/ If they’ll never even hear you?”

Carrie & Lowell captures a life full of bittersweetness — several lives, really. And in the music, all those voices, the living and the dead, are reflected, amplified.

The best is not behind Sufjan Stevens. He has never been better than this, never really even been close. He can push the world away and walk off into the woods if he wants . Not anymore. Carrie & Lowell forces us to hear everything, to feel everything.  Sufjan Stevens’ Carrie & Lowell was released a few years ago, and while some records lose their luster over time, this one remains stunningly, painfully intimate to this day. The record details Stevens’ troubled relationship with his mother, and also marks his return to a more traditional folk sound. Full of intricate guitar picking and ghostly vocals, listening to Carrie & Lowell is like bearing witness to one person’s beautifully rendered emotional wreckage.