Sufjan Stevens has never been one to stay in the realm of convention.
Beginning with his debut album, "A Sun Came," released on his own label, Asthmatic Kitty. Stevens has kept us all on our toes with his unpredictable lo-fi-folk-indie, complete with flutes, choirs of children, and sporadic guitar solos.
Ever since Stevens announced his plans to create one album for each U.S. state, the world has been highly anticipating the third in his ambitious 50-piece collection.
But, like Sarah Palin, Stevens keeps us guessing.
He has given us a taste of electronica in "Enjoy Your Rabbit" (based around the Chinese Zodiac), "Michigan" (a tribute to his home state), some lo-fi, at-times-Christian folk with "Seven Swans," Billboard heartbreaker "Illinois," and "The Avalanche," which is basically a compilation of all the songs that didn't make it onto "Illinois."
All told, two state albums and 48 to go.
Since then he has also released a box set of Christmas songs and "BQE," a tribute album to the Brooklyn-Queens Expressway.
Then, like the ghostwriter that he is, this month Stevens suddenly released his newest EP, "All Delighted People," running longer than most standard albums at more than 50 minutes.
Stevens' next full-length album, "Age of Adz," is slated to come out October 12, but until then we are left to contend with "All Delighted People," which is no half-assed album in and of itself.
The album starts off with "Enchanting Ghost," a humble acoustic ballad featuring a whispering Stevens and delicate fingerpicking, some beautiful harmonizing with a female vocalist, and the lightest flutters of a piano.
The title of the song reflects its sound, ghostlike and ephemeral.
Perhaps the standout track on the EP, however, is "Djoriah," a 17-minute letter to his sister, with a moaning chorus, lo-fi guitar solos, loose brass and a slow buildup.
The lack of singing in the track only amplifies its haunting qualities.
The track is emotionally exhausting, however, so the listener will likely welcome the introduction of lighter tracks such as "Heirloom" and the title-track. "Heirloom" features an easy-going acoustic guitar backdrop and Stevens' voice echoing with a bit of reverb before incorporating a few choir voices, simple yet satisfying. "All Delighted People," runs longer, at 11 minutes, and opens with a layer of church choir "awws" behind a half-speaking Stevens.
The song then picks up pace a bit, bringing in trumpet, drum and piano, and building into a full-blown orchestration.
It keeps listeners on the edge of their seats, alternating between quiet whispering and moments of sheer noise before coming to a close.
It stands as the record's most typical Stevens concoction.
While it may not be the Oregon or Rhode Island album we've been expecting for five or so years now, "All Delighted People" is a pretty solid album—I mean, EP—to keep us satisfied, at least until "Age of Adz" comes out about a month from now.
Until then, I think we can all quit holding our breaths in anticipation of the "50 States Project." The Stevens version of Maine may be a long way off.