Score: 5/5
Joshua Tillman has often downplayed the role he had in the Seattle folk rock group Fleet Foxes. Filling the position of drummer, Tillman left his mark on the band’s most recent album, “Helplessness Blues,” in 2011. He has since left Seattle for greener pastures, finding his place as a singer-songwriter by the name of Father John Misty. Under this moniker, Tillman released “Fear Fun” to fairly positive reviews.
Father John Misty has returned to his flock with a new work — the sweetly arranged, free-wheeling “I Love You, Honeybear.” The album has already received some considerable radio play with the two singles “Bored In The USA” and “Chateau Lobby #4 (in C for Two Virgins).”
The album opens with the title track. A relatively simple song, “I Love You, Honeybear” is a haunting little love ballad. Tillman croons longingly not from a place of loss, but from desire. Judging by the way he urges his subject to believe him, the “Honeybear” in question has much left to resolve with the hopeless romanticism of Father John Misty.
The lustful “Chateau Lobby” immediately follows, forcing the listener to pay close attention, lyrically speaking. The song is jangly and the definition of a musical earworm. Tillman uses his words to paint images of love much akin to those of a Wes Anderson film. The ideas of long-term dating being too civilian and being murdered in a wedding dress are only a few of the topics Tillman somehow makes charming. An added bonus to “Chateau Lobby” is its bright and crisp horn solo, which takes the place of a second verse.
Spanning the middle portion of “Honeybear,” listeners can find a set of songs that best illustrate Tillman’s view of his own personal life. The song “The Night Josh Tillman Came To Our Apt.” shows Tillman ranting about the unattractive qualities of his love interest. Recently married, Tillman defends his wife’s honor as well as his dignity by fighting off advances in “Nothing Good Ever Happens At The Goddamn Thirsty Crow.”
“Bored In The USA” and “Holy Shit” are two ballads which help close “Honeybear.” Both are fairly political, with Tillman calling on the help of “President Jesus” to aid him in his time of need in “USA.” “Holy Shit” has a more satirical nuance. Tillman mentions the issues of gender roles and mercury scares up against the backdrop of orchestral strings and solid-sounding guitar chords.
“I Love You, Honeybear” shows promise for the progress of folk music. Tillman gives his listeners insight into his own life as well as what may come as a result of his continuous rise to popularity, something that will only grow with this album.