It’s not uncommon for rock journalists to foist “the next new thing” tag on musicians who sound remarkably like five or 10 or 50 other bands. But Sufjan Stevens’ basic building blocks – banjo, the ’70s sensitive folkie vibe, ’60s Girl Group/Greek Chorus background singers, trumpet and trombone, and the orchestral minimalism of Philip Glass and Steve Reich – resist handy encapsulation, and the results are utterly unprecedented and unpredictable. He’s managed to do the seemingly impossible; he’s made breathtakingly beautiful music that can legitimately be dubbed “new.”

The second installment in his audacious 50-states project, Illinois is part history lesson, part geography lesson, and part meditation on the hadowy terrain of the heart that cannot be found in a textbook or on a roadmap. “John Wayne Gecy, Jr.” relates the chilling tale of a serial killer, made all the more memorable because of Stevens’ hushed delivery and goosebump-raising falsetto. “Casimir Pulaski Day” contrasts the celebration of an obscure Chicago holiday with the grief and anguish that accompany cancer and untimely death. “The Predatory Wasp..” is a summer tale of innocence that, yes, hides a sting beneath its arpeggios and orchestral flourishes.

Illinois will be enjoyed, revered and discussed long after the page containing these words has turned to mulch. Trust us.