Sufjan Stevens released "The BQE," a symphonic soundtrack for a film of the same name, on Oct. 20. The album defies expectations at every turn, using classical and contemporary influences in a multi-layered symphony that describes the frustrations and glories of the Brooklyn-Queens Expressway in New York City.
Stevens has continually frustrated music critics and gained a cult following by resisting classification. He produces albums with styles varying from electronica to lo-fi rock to sparse folk melodies. After "Michigan" (2003) and "Illinois" (2005), conceptual albums that examine life in individual states, were released, critics struggled to pinpoint a theme in either work. Fans claimed that Stevens planned to create an album for each of the 50 states, focusing next on New York, California or Kentucky.
While the truth of this rumor is up in the air, one thing is certain: Stevens continues to be unpredictable. With "The BQE," Stevens creates a romanticized image of New York City's most infuriating, congested highway — an unlikely musical subject. The album originally served as the score for "The BQE," a silent film focusing on the trials and tribulations that occur on the Expressway. The symphony was first performed during a screening of the film by a live 36-piece orchestra at the Brooklyn Academy of Music on Nov. 1, 2007.
Most of the pieces lack a definitive melody, and instead depend on the musical texture of each instrument in the orchestra to bring them to life. Stevens leaps from one mood to the next, asking the listener to trust him as he explores the abyss between tranquility and chaos. If listeners can take that leap of faith, Stevens presents them with something entirely thrilling and magical.
The volatility of the album can be a bit overwhelming for those not acquainted with Stevens' previous works. The pieces themselves abound with untamed abandon — from delicate piano chords to bursts of fanfare, whirling woodwind and random chimes.
The instrumental variation alone can be overpowering to a casual listener. Stevens showed his love for instrumental experimentation in "Illinois," in which he personally played and recorded over 60 different instruments. "The BQE" is no exception: Stevens calls upon every imaginable type of brass, strings, woodwind and keys to keep the score in constant motion.
Stevens' influences range far and wide from contemporary Philip Glass-like minimalism to Debussy's passionate piano movements. "Movement I: In the Countenance of Kings" relies on a fragile piano melody touched by string harmonies and hearty trumpets.
Stevens' pieces are never understated, but instead occur on a grand scale of emotion. "Movement II: Sleeping Invader" places the listener in a Rogers-and-Hammerstein-esque Broadway musical, interspersing a delicate flow of piano chords with a melancholy violin and trumpet line. In contrast, "Movement V: Self-Organizing Emergent Patterns" and "Interlude III: Invisible Accidents" are both driven by jazzy chords and rhythm.
It is important to remember that the music is not necessarily meant to stand alone — it was created as a complement to the images in the eponymous film, which range from tranquil shots of Brooklyn-Queens architecture to images of road-raging drivers caught in traffic.
"Interlude I: Dream Sequence In Subi Circumnavigation" is one piece that is less enjoyable when unaccompanied by the film — its mixture of a ghostly chorus and high-pitched strings seems grating at times. Stevens loses the listener as the piece disintegrates into a discordant cacophony of instruments, though the music works in the film as an effective description of drivers' anxiety.
"Movement IV: Traffic Shock" is also difficult to tolerate; it sounds as if Stevens layered every possible jarring electronica beat without any regard for their overall sound. The piece recalls Stevens' work with electronica in "Enjoy Your Rabbit!" (2001) but fails to maintain any aural appeal.
A word of warning: this album does not serve well as a casual introduction to Stevens. Those hoping to acquaint themselves with his music should turn to previous albums for an overall sense of his style. More seasoned Stevens fans will applaud the madcap creativity and broad scope of "The BQE." Like New York itself, the album exists in a state of unrelenting motion; it is powerful, vulnerable and, above all, unstoppable.
