Sufjan Stevens’s astounding miscellany

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Sufjan Stevens’s astounding miscellany
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Sufjan Stevens is following a singular path but, in doing so, has found near-universal acclaim

YOU MAY never have heard of Sufjan Stevens, but you may well recognise his songs. He is the television music supervisor’s go-to artist for moments of emotional crisis. His work can be heard on “Big Little Lies”, “Friday Night Lights”, “This is Us”, “Weeds” and “The Politician”. His melodies have also appeared on “The OC”, “Sex Education”, “Grace and Frankie”, “Nip/Tuck”, “Ray Donovan” and “One Tree Hill”.

A delicate folk album, “Seven Swans”, came the year after. In 2005 he released “Illinois” and announced he would write an album about each of the remaining 48 states. He produced a largely electronic album, “The Age of Adz” in 2010 and then, in 2015, what might be his masterpiece. “Carrie and Lowell” was a restrained and refined set of songs about his mother, who struggled with substance abuse and abandoned him as a young boy.

“America” is the lead track on his new album, “The Ascension”, but the record as a whole is not dystopian or even especially political. Instead, its main theme is the search for meaning after the loss of faith. The song titles—“Ursa Major”, “Death Star”—hint at cosmic exploration and the lyrics are full of references to the Rapture, new communions and circles of light.

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