Father John Misty, the current moniker for indie artist Josh Tillman, released “Mahashmashana,” on Nov. 22. It’s Tillman’s sixth studio album under the name, following “Chloë and the Next 20th Century,” released in 2022. According to his Bandcamp, the title is the phonetic spelling of a Sanskrit word that means “great cremation ground.” With a 50-minute runtime and only eight tracks, the songs take their time delivering the expansive folk-pop soundscapes and narrative journeys that Tillman is known for.
The record opens with the title track, a sprawling nine-minute opus. An army of layered strings and pianos kick off the show, sounding like something from Phil Spector’s wildest (nonviolent) dreams. The angelic noise swells with the chorus and fades back during the verses, letting the softer drums and piano support Tillman’s ambitious lyricism.
He delves into the human experience and impermanence of what we hold dear, wrapping the meaning in multilayered metaphors. In the third verse: “Like there’s no figure on the cross / They have gone the way of all flesh / And what was found is lost,” Tillman belts about religion before the track reaches its climax. The outro is stellar, with all the instrumental ideas coming together with an added saxophone cutting through the mix. And just when it sounds like the strings and sax can’t get any higher, the track ends, delivering one of the most satisfying sonic builds of the year.
Tillman continues with “She Cleans Up,” a groovy rock cut on the album that flexes his versatility. His voice effortlessly glides over funky guitar riffs with so much catchiness that every line sounds like part of a chorus. The dynamic sax solos and slight vocal distortion added on the back end create a psychedelic vibe, giving this track a distinct but still comparable climax to the opener. It may not be as flashy as some of the other songs on the album, but you’d be hard-pressed to find a more danceable song in Tillman’s catalog.
The fourth track, “Mental Health,” is more of a laid-back pop ballad. On it, Tillman muses on the role of mental health and self-identity in society. He goes back and forth about its importance in lines like: “Mental health, mental health / Maybe we’re all far too well / Mental health, mental health / A less pathetic cry for help.” The song is less maximally produced than the previous highlights, but that’s not necessarily a shortcoming. Tillman’s soft vocals, the gentle strings and the relevant subject matter make it feel like an adult lullaby of sorts. That is, until the end, where there’s a dramatic flourish, like most of the songs on the album.
“Screamland,” the following track, starts off stripped back and somber, seeming like another ballad approach. Tillman goes into the thought processes people use to cope with hardship and to find optimism for the future. His quiet vocals create a bleak atmosphere, which contrasts with the distorted electric breakdown in the refrain. “Stay young / Get numb / Keep dreaming / Screamland,” Tillman sings when everything gets noisy, getting at the core of the mindset that the song is about. Of all the stylistic switch-ups on the album, this might be the most jarring, but it’s nice to see how far Tillman is willing to diverge from his usual style.
The penultimate track, “I Guess Time Just Makes Fools of Us All,” is the second longest on the album, coming in at eight-and-a-half minutes. It’s a jaunty disco jam, taking a different approach with the same instruments used elsewhere on the project. Tillman’s lyrics are even more abstract than the rest of the album, with verses drawing on personal vignettes, societal observations and historical references for a layered commentary on temporality. He comes off as an orator for humanity, narrating the futility of everything in epic fashion.
The album ends with “Summer’s Gone,” a straightforward acoustic track. It ties the album up well thematically, going back to ideas like finding ways to force optimism and the passing of time. There aren’t any music shifts or builds, but the subdued atmosphere keeps it from feeling anticlimactic.
Tillman’s “Mahashmashana” is a boldly arranged and intricately written work. The emphasis on genre shifts and musical climaxes makes the album a dynamic and engaging listen, even if a couple less dramatic tracks feel underwhelming in the process. But the never-ending positives go to show that no matter what style is employed or how much time passes, Father John Misty’s still got it.
Rating: 4/5