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It may be tempting to reduce Convocations into a longform ambient anomaly within Sufjan Stevens’ vast catalogue. It is, however, neither an anomaly nor entirely ambient. This is not a side project. From his numerous dance scores for New York City Ballet to instrumental albums such as Enjoy Your Rabbit, Aporia, and The BQE, Stevens spends at least half his working life making largely instrumental music, as he has for decades. And though the first ten pieces, dubbed “Meditations,” unfurl as gorgeous states of reflective new-age grace, this is by no means an ambient enterprise. Stevens invokes the lessons of Morton Subotnick, Maryanne Amacher, Christian Fennesz, Brian Eno, and Wolfgang Voigt here. As musically erudite as it is emotionally experienced, Convocations can be dissonant, vertiginous, rhythmic, repetitive, urgent, or calm—that is, all the things we undergo when we inevitably live through loss, isolation, and anxiety.