Review: “Chloë and the Next 20th Century”

Last week Father John Misty released his latest creation: “Chloë and the Next 20th Century.” The 50 minute album made up of 11 tracks sounds very cohesive and is a rather thematic production lyrically. The album is jazzy, croony and at times — though it feels rude to admit — slightly elevator-music-esque. No hate toward the track “Olvidado (Otro Momento),” but it sounds precisely like elevator muzak right from the get-go. Almost to a comical fault. The reason it feels disrespectful to make this claim is because Joshua Tillman (Father John Misty is his pseudonym) is a lyrical and melodical genius in so many ways. I think there are just some elements in this album that were crossing over to cheesy and farther into the theatrical than I prefer, which took me out of the story more. That being said, Tillman was certainly going for something regal with this project, and I think he achieved that, as there are so many classical elements of the music in this album that take the listener on a transformative journey. 

There is something about the album’s jazzy, vintage sound that alters the space and time in which I was listening to it. Sure, to me it feels like a less personal product from FJM, but there is also so much to be said for a concept album, which is no easy feat. Tillman’s album title is fitting, as this is certainly an early to mid-twentieth-century themed work. This was especially evident in the first single he released before the album dropped: “Funny Girl.” Listening to it feels as though I am watching an old romantic black-and-white film on the big “silver screen,” as people from olden times would say. This naturally leads me to the album’s most palpable theme: Romance. If there’s anything Tillman seems to write best, it’s love and how fickle and childish and beautiful it can be. Somehow he spins all of the complications and loveliness of romantic relationships into a beautiful melody that brings you closer to feeling the major staples of love: loss, lust, anger, bliss and so on. Just listen to his previous tracks “Chateau Lobby #4 (in C for Two Virgins)” and “Hollywood Forever Cemetery” and you’ll know what I mean. This man certainly has a way with words. I just think I’m so accustomed to the more personal musical elements of previous works, that “Chloë” just feels more schtick-y to me. Again, just less relatable and heart-string-tuggy as other FJM masterpieces.

To further a wedge between FJM and I, I have to say, nothing in this album stood out very strongly for me. Each song had almost too similar a vibe to the next (makes sense for a concept album, but still) and the slow, show-tuney beat of most songs errs on the kitschy side. That being said, the album did really pick up in the last five tracks, starting with the most memorable, aforementioned “Funny Girl.” The tone at the end of the album had more direction and told a more intimate story of love and tragedy than the withdrawn mood of earlier tracks. I’m especially a fan of “We Could Be Strangers,” which has a noir-ish vibe and yet presents a rather romantic message through its lyrics.

Overall, I did not connect with this album in the way that I had so hoped before its release. But I still commend Father John Misty/Joshua Tillman for his harmonious collection of songs and for creating a very visual album that is certainly worth the listen no matter how you feel about it.