When Sufjan Stevens’ tenth studio album ‘Javelin’ was announced, it came with an primer that it marked a return to the artist in “full singer-songwriter mode” for the first time since his 2015 critical smash ‘Carrie & Lowell’. The American artist and multi-instrumentalist’s first “solo album of songs” since 2020’s ‘The Ascension’, (between then and now there’s also been 2021’s 49-track ambient epic ‘Convocations’, alongside a handful of collaborative projects), it marks a departure of the more experimental sonics of late and a return to the lyricism and lush indie-folk of previous projects like ‘Carrie & Lowell’ or 2004’s ‘Seven Swans’.
The album’s release comes after Stevens’ recent diagnosis of rare autoimmune disorder Guillain-Barré Syndrome. Sharing his experience on social media last month, he revealed that he “woke up one morning and couldn’t walk”, with the serious illness leading to time in hospital for tests and treatment. Now undergoing physical therapy “to get my body back in shape and to learn to walk again”, he also explained that it’s “one of the reasons why I haven’t been able to participate in the press and promotion leading up to the release of ‘Javelin’”.
‘Javelin’ lives in a musical world that – despite Stevens’ prolific, genre-spanning output over a 25 year career – is often most associated with his work: soaring melodies delivered by Stevens’ with his distinct vocals that are swaddled in intricate, folky instrumentals. But ‘Javelin’ also draws on other parts of Stevens’ back catalogue, more expansive influences bleeding into the tunes, and songs backed by a revolving door of supporting vocalists that elevates the songwriting: Adrienne Maree Brown, Hannah Cohen, Pauline Delassus, Megan Lui, and Nedelle Torrisi all provide harmonies throughout
Climbing opener ‘Goodbye Evergreen’ begins as a soft piano-led tune, later erupting with his sparkling 2010 album ‘The Age of Adz’. The avant-garde is measured and softened by the cinematic melodies that see Stevens’ and a chorus of voices decry: “Goodbye, Evergreen/You know I love you”. There’s power in the quiet, intimate moments, too. The gorgeous ‘Genuflecting Ghost’ is subdued, the vocals and woodwind reminiscent of the chamber pop of his 2005’s ‘Illinois’. ‘Shit Talk’ – which features The National’s Bryce Dessner on guitar – is a subtle, pop-leaning beauty, which bears similarities to The National’s oeuvre.
Meanwhile, ‘So You Are Tired’ features some of Stevens’ most heart wrenching songwriting. Reflecting on a fractured relationship (“turning back fourteen years/Of what I did and said”), Stevens considers what went wrong and the blame he could take (“Was it something I said or some kind of joke?”), before delivering the gutpunch: “I was the man still in love with you/When I already knew it was done”
It’s the power of Sufjan Stevens’ music that big feelings like this can be conveyed in such a seemingly effortless, unguarded way. Heartache and pain are tempered by the choir of voices and whimsical instrumental arrangements that bring an element of hope. It’s a return to “full singer-songwriter” Stevens, in a way, but by bringing together sonics from throughout his career and coupling it with frank and intimate lyricism, the gorgeous ‘Javelin’ feels like a fresh take from the cult hero.
