this album is one of the best i've heard. the contrast between sufjan's vocals and the atmospheric instrumentals are striking and beautiful. stunningly powerful.
Favorite track: No Shade In The Shadow Of The Cross.
In "Carrie and Lowell," Sufjan Stevens is a child again or, more specifically, the child character in the family of man drama that often but not always centers on the story of love given, or love forsaken, but isn't that the same thing to the poet? That the love Stevens sings about having left or given or been born to--thank you, Carrie--is a perceptible wound not only on the singer's throat, but his sleeve: he wears love's incomprehensibility, and the deep incomprehensibility of being a son, like a backing vocal on "Carrie and Lowell," which is also filled with colors, hearts, trees, conclusions, and beginnings, all adding up to the kind of intimacy that caught my eye the morning I sat in the diner waiting for the sun to get stronger as I saw intimacy pass by while going about it's business, like something sung and felt by Sufjan Stevens on his new beautiful solitary and rich record filled with faith and disbelief and the resurrection of trust and dreams. - HILTON ALS
Flora, Portland, Oregon (engineered by Tucker Martine)
Black Watch, Norman, Oklahoma (engineered by Chad Copelin and Jarod Evans)
April Base, Eau Claire, Wisconsin (engineered by Brian Joseph)
Pat Dillet’s studio somewhere midtown Manhattan
And at Sufjan’s office in Dumbo, Brooklyn
Some tracks were also recorded on an iPhone in a hotel room in Klamath Falls, Oregon
Mixed by Sufjan Stevens, Thomas Bartlett, and Pat Dillet