Only a few months after the release of Illinois, Sufjan Stevens bandmate John Ringhofer confessed that an extra album's worth of material had been recorded during the Illinoise Sessions and left unreleased by Stevens. When questioned what would come of the songs, Ringhofer suggested Stevens would "probably change the lyrics around a bit and use [them] on another state's CD."
Stevens responded by releasing The Avalanche, a self-described collection of "Outtakes and Extras from the Illinois Album." With the only literal outtakes being three arguably dispensable alternate versions of "Chicago," the rest of the album provides more of the same - catchy, well-written songs that pair perfectly with Stevens' first offering.
The title track provides one of the highlights of the album, balancing tension and beauty to create the perfect introduction to an album that offers a similar balance. "Dear Mr. Supercomputer" makes use of syncopated vocals and a choppy time signature to fashion a rare feeling of modernity on the album. "Adlai Stevenson" sees Stevens examining the childhood of the former Illinois governor while backed by the roar of what could be the soundtrack to a 1950's political campaign. Proving that historically relevant subject matter isn't necessary for Stevens to write a noteworthy song, "The Henney Buggy Band" references the 2004 renaming of the Illinois I-88 tollway. Yet, Stevens does stumble upon a few topics of substantial importance, as "The Perpetual Self" details the futility of battling Chicago poverty. Stevens also draws from his own life, "The Mistress Witch from McClure" dealing with the discovery of his father's infidelity, while "Pittsfield" discusses a similarly strained relationship.
If the album suffers from anything, it's too much of not enough - both musically and lyrically. Much of the subject matter tends to feel forced, as if Stevens is randomly picking names from a list of Illinois historical figures when choosing song titles. Where he previously grappled with the honesty of Carl Sandburg, the humanity of John Wayne Gacy Jr., and the emptiness of Superman, Stevens now seemingly name drops Saul Alinsky, Saul Bellow, and Clyde Tombaugh. Musically, the presence of the previously mentioned "Chicago" outtakes scattered throughout the album is distracting and causes pacing problems, especially when following instrumental tracks.
This is not to say the album was not worth releasing, as Stevens has surprisingly suggested in a few interviews. However, one cannot help but wonder why Stevens chose not to take Ringhofer's advice, considering the album's ambiguity of any lyrical attachment to Illinois.
It will be several years before Sufjan Stevens will return with another album; picking up The Avalanche is a must for any fan who can't wait that long.
