The new Sufjan video for "Get Real Get Right," off The Age of Adz, was animated by the multi-talented singer himself. It features the work of Louisiana outsider artist Royal Robertson, who inspired Adz. The clip is like a 5-year-old boy's fantasy -- jet packs! Spaceships! Superheroes! Monsters! -- and it's a whole lot of psychedelic fun. It's not embeddable, but you can watch it here. For an idea of what it's like in concert, check out these live visuals from his show, which are possibly more impressive.

I know I got harangued in the comments last time I talked smack on everyone's favorite banjos-for-Jesus-turned-electro-wannabe Sufjan Stevens, but I'm sorry, the guy is making it too easy. Let me start by saying that I really did like the Michigan and Illinois(e) albums (and even Seven Swans), what with their warm Midwestern earnestness combined with wild arrangements and well-written lyrics. But I think the guy's become completely insufferable. Case in point: Friday on Jimmy Fallon, Sufjan jammed out on his new track "Too Much" wearing one of the stupidest outfits I have ever seen in my life. It involved angel wings, a backwards visor, and lots of neon pink and yellow tape. There are guys that could pull shit like this off - Bowie, say, or Kanye West - but you need a strong personal aura of sexuality and testicular confidence, two things Sufjan lacks completely. Video after the jump.

Sufjan Stevens has a new EP out entitled All Delighted People, and listeners are already trashing it on the internet. You can stream the entire record at Pitchfork, and then drop in your two cents. Or buy it for five bucks at Sufjan Stevens' bandcamp page. @Hipsterrunoff tweeted, asking if the EP is a boring letdown, and the resounding response is, “YES.” From what I’ve heard of the new record (first 3 tracks, and brief snippets of the rest), I’m inclined to agree. I think the guy peaked with Greetings From Michigan, and even that record holds up questionably upon re-listens.

This report comes a bit late, but I just cannot get The National's Saturday night performance and their newest album, High Violet, out of my head. The most intriguing thing about Saturday night's sold-out "ZYNC from American Express Presents The National to Benefit Red Hot" at BAM was knowing that it was the grand finale for a week of music festivities at the National's pop-up lower Manhattan venue called the High Violet Annex, adjacent to the Other Music record store. They impressively performed just before their highly anticipated BAM show (which sold out in record time) and brought a bus load of ticketless fans—literally, a busload— with them from Manhattan to the Brooklyn venue. I take that back. The most intriguing thing about the show was the fact that big-time director DA Pennebaker shot the show and streamed it live on Youtube. Or maybe the thing that really bowled me over was the fact that Sufjan Stevens joined them on stage. Or maybe it was the fact that Julia Stiles was right in front of me.

While Sufjan Stevens is busy trying to figure out what the hell to do with all those incredible, awesome, too-long-for-some-people-but-really-well-worth-the-wait few pieces of new material, we're stuck with nothing! BQE's orchestrations are nice twee background music if you're on a particularly light trip of mushrooms, but other than that, we need our fix, Soof. Well, we got it -- the Sufjan finally got mixed up with some hip hop. How is it?

When we last checked in with Sufjan Stevens, the BQE package was in our hands, and we were left wondering whether or not the long awaited full-length follow-up to Come On, Bring The Illinoise was going to be as long, epic, and sprawling as the commissioned orchestral pieces. And, from the sound of it, they are.

Sufjan Stevens performed his concert/commission BQE (based on the Brooklyn-Queens Expressway, Robert Moses' controversial architectural swan song) at the Brooklyn Academy of Music in October 2007, along with a concert of his songs to go with it. The piece -- Sufjan, hula-hoopers, a 35-piece band and orchestra, and live film projections -- was considered a huge success by all who saw it, or as the New York Times' Jon Pareles wrote: "Mr. Stevens has emerged from indie rock as a mastermind of extravaganzas ... the commission ... allowed Mr. Stevens to think bigger, and he exploited it superbly." If you couldn't be there for that time Sufjan drew another fine fabric from "indie rock" and pulled it through "fine arts," you can now relive the magic at home. Opening shots, and hidden track dish after the jump.