Tillman explains on Subpops’ – his new label – website that he had “…lost all interest in writing music, or identifying as a ‘songwriter’. I got into my van with enough mushrooms to choke a horse and started driving down the coast with nowhere to go. After a few weeks, I was writing a novel, which is where I finally found my narrative voice. The voice that is actually useful.”    He explains that “I was honest with myself about what music actually excites my joy-glands when I was considering the arrangements and instrumentation.”  “As opposed to what’s been enjoyable to me in the past – namely, alienating people or making choices based on what I think people won’t like or understand. Pretty narcissistic stuff.”

So does this come across in the music?  Simple answer is yes.  Tillman has ultimately created an alias to allow himself to grow as an artist without necessarily being judged for doing so.  If released under his own name I believe that this album would be seen as a major departure and risk, which it undoubtedly is.  However, under the name Father John Misty, Tillman has had the freedom to explore new ground without ever alienating his original audience.   As one of those original audience members, I can confirm that this new approach to music is one that is refreshing and exciting and Tillman has lost none of the song qualities that has made him stand out for me for such a long time.  Missing him at Nice N’Sleazy’s a couple of years ago is still one of my biggest disappointments, such is my admiration for his abilities.

The voice is still there, the intelligent lyricism is still there, but this record is packed with much more.  Much more instrumentation and a much fuller approach to the songs.  Not once on the record does a track appear where it is just Tillman and his voice.  On the one hand this is a disappointment because not many people can hold the attention with such limited resources in the way Tillman can.  On the other hand, it’s brilliant to hear Tillman crank it up a notch and let loose, or as he puts it ‘listen to someone rip their arm off and beat themselves with it.’  Cause at times, that’s exactly how the record feels like especially on the brilliant ‘Hollyood Forever Cemetry Sings’.

This is not Fleet Foxes (thankfully), nor is this anything like his previous work.   It’s not fresh of course nodding it’s hat greatly to The Eagles, Waylon Jennings and in particular Roy Orbison but it’s a great new direction for a brilliant artist who continues to grow in stature whether that be under his own name, his current moniker or any other name he chooses to throw into the arena in the future.  Definitely one to check out. In the meantime check out his KEXP performance and purchase “Fear Fun’ here.

On May 25, RBMA will present a DFA Records 12th anniversary celebration at Grand Prospect Hall in Brooklyn. It will feature Murphy, the Juan MacLean, Shit Robot, the Crystal Ark, Factory Floor, YACHT, Black Dice, Pat Mahoney, Nancy Whang, Tim Sweeney, members of the Rapture DJing, Prinzhorn Dance School, Planningtorock, Larry Gus, Still Going, Dan Bodan, and Marcus Marr.

“Eyes are the new fashion accessory. People are obsessed with eye makeup. It’s the most complicated, and it’s the one thing that really can transform you the most. For lipsticks, if you like pinks, you’ll always wear pinks, and if you like foundation, you’ll always wear the foundation you love. But the eye, if you work on your brows, the eyeliner, the mascara—you can truly transform yourself, in the good sense of the term. For me, there is a kind of superficiality in lipstick. I’m sorry to say that. It’s like having a fashion accessory that you will have and then put away. The eye is there to last. It’s also a symbol of authenticity. People say the mirror of the soul is the eyes. I think eyes are really deep. I remember once being in a very fancy place for vacation one weekend with this group of people—their watches were shining, their nails were shining, their hair was shining, their skin and clothes were shining, and their cars were more than shining. But their eyes did not shine. I understood they were not happy. I think that this project is somehow like ‘happy eyes.’”