Sufjan Stevens, Carrie & Lowell - album review: Stirring memories from the troubled troubadour

A cathartic exercise exploring the effect of his estranged mother Carrie’s death

Andy Gill
Friday 27 March 2015 16:32 GMT
Comments
Sufjan Stevens' new album explores the effect of his estranged mother Carrie’s death on him
Sufjan Stevens' new album explores the effect of his estranged mother Carrie’s death on him (Nathan Beazer )

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

There’s often been an element of the autobiographical in Sufjan Stevens’ work, from the adolescent admissions secreted in Illinoise to the tormented speculations of The Age of Adz.

But rarely have his revelations been as direct, or as personal, as on Carrie & Lowell, a cathartic exercise exploring the effect of his estranged mother Carrie’s death on him two years ago.

Couched in fragmentary memories, classical and biblical allusions, and a degree of self-reproach, and set to simple folk-guitar arrangements tinted with ghostly shimmers of steel guitar and synthesiser waves, it’s suffused with an intimacy and sadness reminiscent of Sun Kil Moon’s meditations on mortality in Benji, except that compared to Mark Kozelek’s blunt baritone, Stevens’ fragile murmur, especially when soaring into its higher register, has a vulnerability that suggests these memories may shatter on too heavy an apprehension.

Descriptive songs – the hospital deathbed visitation of “Fourth of July”; the recollections of childhood summers spent in “Eugene” with Carrie and stepdad Lowell; the disturbing intimations of a possibly abusive relationship in “Drawn to the Blood” – are intermingled alongside more speculative meditations on inheritance and memory, with suggestions that Stevens felt somehow inhabited by his mother’s spirit. Several times he refers to her apparition passing through him, most powerfully in “All of Me Wants All of You”.

Clearly, these have been troubled times for the gifted troubadour – in one song, thoughts of suicide are warded off by “signs and wonders” – but the welcome aspect of his tribulation is the restoration of simplicity and unashamed beauty to Stevens’ work.

The single “Should Have Known Better”, in particular, is surely his most engaging, memorable song since “Chicago”, while the overall gentle, delicate texture of the album is like a gossamer shroud of solace cast over a period of deep confliction.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in