Sufjan Stevens is going to trick you. He’s going to start the songs on his new album Javelin in hushed and minimal Carrie & Lowell mode, and then those songs are going to explode into electro-organic widescreen pageantry that seems to blur his whole career together — like the somber splendor of Michigan cut with the madcap anxiety of The Age Of Adz, or the hi-fi community theater vibes of Illinois awash in the existential despair of The Ascension. Hollywood music supervisors take note: The songs don’t stay quiet, but they sure do stay pretty.
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