Podcast appearances and mentions of josh tillman

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

On this episode of the podcast David sat down with Sarah Tant and Jeremy Graham to discuss Father John Misty's second album I Love You, Honeybear. Sarah and Jeremy are close friends and have done multiple episodes together but hadn't in a while. There was no shortage of things to talk about regarding Father John Misty (or Josh Tillman). This is part 2 of their conversation mostly discussing the album track by track. intro/outro music by C/O david davisC/O david davis linktree-  https://linktr.ee/co_daviddavis?utm_source=linktree_profile_shareNew Sense of Self YT- 

On this episode of the podcast David sat down with Sarah Tant and Jeremy Graham to discuss Father John Misty's second album I Love You, Honeybear. Sarah and Jeremy are close friends and have done multiple episodes together but hadn't in a while. There was no shortage of things to talk about regarding Father John Misty (or Josh Tillman). This is part 1 of their conversation mostly discussing FJM in general. intro/outro music by C/O david davisC/O david davis linktree-  https://linktr.ee/co_daviddavis?utm_source=linktree_profile_shareNew Sense of Self YT- https://youtu.be/20PPiY-4Rmc?si=2PAul43SUnef4ers

Josh Tillman is the person behind the persona of the musician Father John Misty. Or, is it the other way around? Tillman's reputation as a provocateur and chimera reached a fever pitch about seven years ago and the songwriter stopped talking to the press and public all together, only performing. In a rare interview, Tillman talked to Music Reporter Justin Barney, about his latest album, Mahashmashana and his disappearance from the spotlight.

On Tuesday August 21, 2012, at 3:30 pm ET, I spoke with Josh Tillman, who'd left a popular band called Fleet Foxes to venture out on his own. He called himself Father John Misty and earlier that spring, Sub Pop had released his acclaimed debut album, Fear Fun. Josh and I had a talk about its meta- and philosophical themes, why he name dropped people like Neil Young and Jean-Paul Sartre, the novel he'd written, why he left Fleet Foxes, his interest in comedy, what his favourite Bob Dylan song was and under appreciated and over discussed aspects of Dylan's work, future plans, and more. To hear this entire conversation, subscribe to Kreative Kontrol on Patreon at the $6 tier or higher (a reminder that an annual subscription includes a discount compared to a monthly one).Related episodes/links:Ep. #937: Mouth CongressEp. #898: Jon Benjamin – Jazz DaredevilEp. #828: ‘Bob Dylan: Mixing Up the Medicine' with Mark Davidson & Parker FishelEp. #744: Don PyleEp. #691: The Kids in the HallEp. #512: Kevin McDonaldEp. #439: Bruce McCulloch and Paul MyersPatti Smith (2007) – TeaserSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

This episode originally ran on January 6, 2025 on the Jokermen Podcast. Subscribe to Jokermen. The Jokermen and Josh Tillman discuss creative process, theories of schmaltz, The Beatles, mental health, fatherhood and breakfast, among other things Find more illuminating podcasts on the Talkhouse Podcast Network. Visit talkhouse.com to read essays, reviews, and more. Follow @talkhouse on Instagram, Bluesky, Twitter (X), Threads, and Facebook.

The Jokermen and Josh Tillman discuss creative process, theories of shmaltz, The Beatles, mental health, fatherhood and breakfast, among other things.

Quienes conocéis un poco como actúan las mareas discográficas del canal no os sorprenderéis de que esta semana la Wurli tenga segunda parte. No podía dejar pasar la oportunidad de compartir con vosotros mi visón del nuevo disco de Josh Tillman, Father John Misty, Mahashmashana. Y eso es lo que vamos a escuchar juntos, las ocho canciones de este trabajo tan especial que sigue la línea de sus dos anteriores discos, en mi opinión subiendo un peldaño mas en cuanto a calidad musical y narrativa. Amigos y amigas, Mahashmashana, el disco y sus interioridades en un audio corte a corte que espero os guste. Gracias por escuchar con cariño y dejar tu corazón en el audio, aunque no lo parezca, esta chorradita es importante. Apoya este proyecto desde 1,49€ al mes. Tan solo tienes que pulsar el botón azul que tienes en la cabecera de este canal Y gracias infinitas, ya que tu aportación nos permite mejorar cada programa. Este programa, como siempre, está dedicado especialmente a nuestros patrocinadores: Joao Sampaio, RLP, Iñaki Del Olmo, Mechimariani, L Ibiricu Traba, Nachoigs, David, Alfonso Ladrón, Nacho Ruíz, Javier Carmona, Ana López, Raúl Espinosa, La Última Frontera Radio, Gustavo, Ruth, Carmen Neke, Manuel García, Rebeca Tatiana, Michel y nuestros queridos anónimos.

NEW FOR DECEMBER 1, 2024 A pot of musical magic . . . Witchy Brew - The Best Radio You Have Never Heard Vol. 497 1. Waking The Witch - Kate Bush 2. Still - Peter Sinfield feat. Greg Lake 3. I Talk To The Wind (live) - Keith Emerson and Greg Lake 4. In The Court Of The Crimson King - Doc Severinsen & The Now Generation 5. Rhayader / Rhayader Goes To Town (2013) - Camel 6. King Of Pain (live unplugged) - Alanis Morissette 7. A Day In The Life (live) - Sting 8. Tempted (live) - Nick Lowe's Cowboy Outfit feat. Paul Carrack 9. Country Honk (early) - The Rolling Stones 10. Love In Vain - Faces 11. Street Fighting Man (live) - John Mellencamp 12. Mayor Of Simpleton (live unplugged) - XTC 13. Josh Tillman and the Accidental Dose - Father John Misty 14. Dead Girls Of London - L. Shankar 15. Call Me The Breeze - Lynyrd Skynyrd 16. Looking Glass (live) - Shimmer 17. This Is Why We Fight - The Decemberists 18. Light My Fire (live) - The Doors w/ Eddie Vedder 19. The Cry / The Electric Co (live) - U2 20. Into The Lens (live) - Yes 21. Stormy Monday (live) - Gregg Allman, Warren Haynes & Allen Woody w/ The Dreyer Brothers Band The Best Radio You Have Never Heard. Sweeping away musical doldrums. Accept No Substitute Click to leave comments on the Facebook page.

Zwischen Midlife-Crisis & Gainsbourg-Streicher: Father John Misty hat seinen Status als Super-Darling des Feuilletons verloren. Etwas, das seinem sechsten Studioalbum verdammt gut tut. «Mahashmashana» klingt nämlich tatsächlich so, als ob sich Josh Tillman, der seit 2012 Musik unter diesem Namen veröffentlicht, hier weniger auf Biegen und Brechen ein Meisterwerk abliefern zu müssen. Und auch im Gespräch mit Sounds!-Redaktor Claudio Landolt hinterliess er einen ähnlich unverkrampften Eindruck. Trotzdem: Seine Musik bleibt überbordend-verrückt. Alleine schon das Titelstück mit seinen schwülstigen Strings und der Spielzeit von fast 10 Minuten... wo FJM draufsteht, ist auch weiterhin FJM drin. Volle Kanone. «Mahashmashana» ist das neue Sounds! Album der Woche. Gibt's ab sofort jeden Abend ein Mal pro Sendung auf CD zu gewinnen. +++ PLAYLIST +++ · 22:56 – SCROOGE von DANESHEVSKAYA · 22:52 – PAUSE AT YOU von COURTING · 22:50 – REGULAR von PA SALIEU · 22:47 – RUNNING von KING HÜSKY · 22:43 – ANOTHER DAY von SACRED PAWS · 22:38 – SEXY CLOWN von MARIE DAVIDSON · 22:33 – WORK IT (SOULWAX REMIX) von MARIE DAVIDSON · 22:28 – MODERN DRIFT (LIVE AM SOUNDS! SHOWCASE) von EFTERKLANG · 22:22 – HOT FAMILY (LIVE AM SOUNDS! SHOWCASE) von ANNA ERHARD · 22:18 – SKIN GAME von DIIV · 22:14 – UNDER THE SUN von DIIV · 22:09 – GLORIA von KENDRICK LAMAR & SZA · 21:55 – SUMMER'S GONE von FATHER JOHN MISTY · 21:47 – I GUESS TIME JUST MAKES FOOLS OF US ALL von FATHER JOHN MISTY · 21:41 – PUNK ROCK LOSER von VIAGRA BOYS · 21:35 – SHE CLEANS UP von FATHER JOHN MISTY · 21:33 – BALLADE DE MELODY NELSON von SERGE GAINSBOURG · 21:28 – THE NIGHT JOSH TILLMAN CAME TO OUR APT. von FATHER JOHN MISTY · 21:22 – JOSH TILLMAN AND THE ACCIDENTAL DOSE von FATHER JOHN MISTY · 21:17 – BEING YOU von FATHER JOHN MISTY · 21:04 – MAHASHMASHANA von FATHER JOHN MISTY

Father John Misty's Josh Tillman explains why his sixth studio album feels like an ending.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Josh Tillman anuncia "Mahashmashana", su sexto álbum, que se publica el viernes, 22 de noviembre y que contiene pasajes como el que compartimos en este podcast, "Screamland", una epopeya de 7 minutos que cuenta con Alan Sparhawk de Low, a la guitarra y con un impactante arreglo de cuerdas escrito por Drew Erickson. Escuchamos también a los británicos Deadletter, que acaban de debutar con "Hysterical Strength", que presentarán en octubre en Madrid y Barcelona y que contiene las canciones que hoy suenan: "Relieved" y "Mere Mortal" y siguiendo con "Mother","Relieved" y "More Heat!". Aparte, escuchamos "Corona", el nuevo adelanto de otro debut, "Junio Cremio”, de Perinetti, y "Hoy Por Mí", nuevo pasaje bluesero de Manola para "El Sótano", su inminente primer álbumTHE JACKSON 5 - I Want You BackANDREW BIRD & MADISON CUNNINGHAM - Crying In The NightSIXPENCE NONE THE RICHER - JuliaMANOLA - Hoy Por MíPERINETTI - CoronaKARAVANA - CariñoDEADLETTER - RelievedDEADLETTER - Mere MortalBLUR - Charmless ManFATHER JOHN MISTY – ScreamlandMICHAEL KIWANUKA - Lowdown iPORCHES - RagLAMBRINI GIRLS - Company CultureTHE WEEKND - Dancing In The FlamesCHARLI XCX - Talk Talk (ft.Troye Sivan)DUA LIPA - IllusionTHE NATIONAL ft BON IVER - Weird GoodbyesEscuchar audio

Episode #260 of the Nialler9 Podcast is a long overdue Andrea deep dive into the life and times and music of Josh Tillman aka Father John Misty - Andrea's Cool Big Guy.Over nearly TWO HOURS, Andrea takes us through the highlights of his albums: Fear Fun, I Love You, Honeybear; Pure Comedy, God's Favourite Customer and Chloë and the Next 20th Century, his run of albums from 2012 to 2022.Our chat takes in topics of masculinity, lyrical explorations, cynicism, playing with character and performer roles, entertainment, ecology, doom-laden rants, societal schisms, online living, political nightmares and psychedelic experiences. You know... the small stuff.The Nialler9 Podcast presents a Listening Party for Father John Misty - I Love You, Honeybear (2015) at The Big Romance in Dublin on Wednesday September 25th at 7pm. Join Niall and Andrea for a playback of a compelling grandstanding album all about love, romance tempered by the cyncism and internal struggle of a man and songwriter who can't quite put faith in the idea that love might be the answer. Buy tickets here.* Support Nialler9 on Patreon to hear all full episodes, get event discounts, playlists, ad-free episodes and join our Discord community.Listen on Apple | Android | ACAST | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS FeedShow notesSongs played on the Nialler9 Podcast Spotify Playlist Hosted on Acast. See acast.com/privacy for more information.

PART TWO...It's that time of year where we replay our MOST LISTENED TO PODCAST OF THE YEAR...Hosts Julie Slater and Jason Friday chat with BEN BRIDWELL FROM BAND OF HORSES (Part Two: Originally Episode 118 from 1/24/23). Hosts Julie Slater and Jason Friday continue (Part Two) their conversation with Ben Bridwell from Band of Horses...His new lady in his life after a painful divorce...a Civil Wars reenactment...the pains of showering for the pod (lol)...our mutual friend Eric Gorfain (from The Section Quartet)...Ben busting Julie and Jason for looking like they aren't in the same room...Josh Tillman...live shows that rock our worlds...how difficult divorce is in South Carolina...and we dig into IT'S 5 O'CLOCK somewhere - where we ask Ben five quick unusual questions to get to know him better. Follow @cuzihavetopodcast on Instagram for all the latest news.  We'd love to hear from you - email us at cuzihavetopodcast@gmail.com.  Find other episodes or leave us a voice message for the show on the anchor website. Thanks for tuning in! Keep on living those dreams, friends, CUZ YOU HAVE TO!! - jULIE AND jASON --- Send in a voice message: https://podcasters.spotify.com/pod/show/cuzihaveto/message

On this episode of Vinyl Verdict, Bell, Jamie and Plouffe listen to Bell's next pick, Father John Misty's "I Love You, Honeybear". Father John Misty is the stage name of the musician Josh Tillman, previously of the band Fleet Foxes. This is his second album as Father John Misty, and it was released in 2015 to critical acclaim. Publications praised the lyrics, his warm delivery, and the instrumentation of the album. The album went on to make several year-end lists of the best albums of 2015, coming in at #12 on Pitchfork's list, and #5 on the A.V. Club's. Approximately 30% of the total sales for this album have been the release on vinyl. But what will the boys think of this album? Is it really the BEST album in Bell's collection? Come along and find out!

Aunque hay baterías que se han hecho un nombre propio en la música como Keith Moon, Ringo Starr o John Bonham la mayoría vive el éxito en un segundo plano discreto. Luego, otra especie aparte, en la de baterías que han dado un paso al frente para liderar sus propias bandas como Dave Grohl, a esa liga pertenece nuestro protagonista de esta semana Father John Misty. El que fuese batería de los deliciosos Fleet Foxes dejó su grupo para apostar por un proyecto personal, por imponer su voz y mostrar sus creaciones. Tras un par de discos interesantes todo cobró un nuevo sentido en 2017 con la edición de Pure Comedy, un álbum imponente y arriesgado que llegó en un curso agitado marcado por la investidura de Donald Trump como presidente de los EEUU, hecho que dio comienzo a una nueva etapa en el país y el mundo con el auge de los populismos.Josh Tillman, nombre real del cantante, vislumbró esos cambios y de una manera inocente y satírica los retrato en su disco más arriesgado. El álbum coincidió con un momento especial en la vida del músico que dejó la bebida, las drogas y dio un paso artístico alejándose de la narración en primera persona para ganar perspectiva.Pure Comedy es uno de esos discos que merecen la etiqueta de clásico moderno, sin haber sido un fenómeno de ventas si que es un disco memorable por tener esa capacidad de retratar el mundo y su época. Por ello lo sentamos esta semana en el Sofá Sonoro y lo recorremos de la mano de Fernando Navarro.

Aunque hay baterías que se han hecho un nombre propio en la música como Keith Moon, Ringo Starr o John Bonham la mayoría vive el éxito en un segundo plano discreto. Luego, otra especie aparte, en la de baterías que han dado un paso al frente para liderar sus propias bandas como Dave Grohl, a esa liga pertenece nuestro protagonista de esta semana Father John Misty. El que fuese batería de los deliciosos Fleet Foxes dejó su grupo para apostar por un proyecto personal, por imponer su voz y mostrar sus creaciones. Tras un par de discos interesantes todo cobró un nuevo sentido en 2017 con la edición de Pure Comedy, un álbum imponente y arriesgado que llegó en un curso agitado marcado por la investidura de Donald Trump como presidente de los EEUU, hecho que dio comienzo a una nueva etapa en el país y el mundo con el auge de los populismos.Josh Tillman, nombre real del cantante, vislumbró esos cambios y de una manera inocente y satírica los retrato en su disco más arriesgado. El álbum coincidió con un momento especial en la vida del músico que dejó la bebida, las drogas y dio un paso artístico alejándose de la narración en primera persona para ganar perspectiva.Pure Comedy es uno de esos discos que merecen la etiqueta de clásico moderno, sin haber sido un fenómeno de ventas si que es un disco memorable por tener esa capacidad de retratar el mundo y su época. Por ello lo sentamos esta semana en el Sofá Sonoro y lo recorremos de la mano de Fernando Navarro.

06.04.2023 | Ephesians 2:11-22 | Josh Tillman

05.21.2023 | Ephesians 1:15-23 | Josh Tillman

06.18.2023 | Ephesians 3:14-21 | Josh Tillman

06.25.2023 | Ephesians 4:1-6 | Josh Tillman

05.28.2023 | Ephesians 2:1-10 | Josh Tillman

07.09.2023 | Ephesians 4:7-10 | Josh Tillman

07.16.2023 | Ephesians 4:11-16 | Josh Tillman

Worthy of Praise | Ephesians 1:3-14 | Josh Tillman

In his first public interview in 6 years, Josh Tillman speaks with Jokermen as he prepares to take the stage at London's Barbican Theater for a one night-only performance of songs by the late great Scott Walker, accompanied by the BBC Symphony Orchestra.

Hosts Julie Slater and Jason Friday continue (Part Two) their conversation with Ben Bridwell from Band of Horses...His new lady in his life after a painful divorce...a Civil Wars reenactment...the pains of showering for the pod (lol)...our mutual friend Eric Gorfain (from The Section Quartet)...Ben busting Julie and Jason for looking like they aren't in the same room...Josh Tillman...live shows that rock our worlds...how difficult divorce is in South Carolina...and we dig into IT'S 5 O'CLOCK somewhere - where we ask Ben five quick unusual questions to get to know him better. Follow @cuzihavetopodcast on Instagram for all the latest news. We'd love to hear from you - email us at cuzihavetopodcast@gmail.com. Find other episodes or leave us a voice message for the show on the anchor website. Thanks for tuning in! Keep on living those dreams, friends, CUZ YOU HAVE TO!! - jULIE AND jASON --- Send in a voice message: https://anchor.fm/cuzihaveto/message

Com si fos un musical impossible, Josh Tillman ha publicat "Chl

Com si fos un musical impossible, Josh Tillman ha publicat "Chl

Perhaps there are a few noticeable stylistic differences in Father John Misty‘s fifth studio release, Chloë and The Next 20th Century, compared to previous FJM albums, but is it so removed from that magic spun by Josh Tillman? For example, “I Love You, Honeybear” (2015), is a swooning ballad with enough lush arrangements to make […]

The enigmatic Josh Tillman (also known as Father John Misty) stopped by 97.3 KBCO to discuss his latest album, "Chloe and the Next 20th Century." He's a thoughtful guy!

De son vrai nom Josh Tillman, Father John Misty est un musicien américain né en 1981. Après sʹêtre sʹaffranchi dʹune éducation évangélique stricte, il mène depuis 2004 une carrière aussi discrète quʹélégante. Son dernier album, "Chloë and the Next 20th Century", est teinté dʹune nostalgie qui doit sans doute beaucoup à cette enfance particulière, loin de lʹhystérie moderne. Le titre "Chloë", issu de cet album, est lui-même une bulle rétro, aux sons charmants et anachroniques des comédies musicales à la Fred Astair. Un choix de Stéphanie Jovanovic.

Charles reviews Grayson Perry's live gig A Show for Normal People in Harrogate as the artist/presenter/documentary maker/social observer asks who and what is normal? Graham sheds light on the slightly blurred state of affairs regarding National Record Store Day, or is it days? Graham ponders why Father John Misty (aka Josh Tillman) attracts hatred as his latest album, Chloë And The Next 20th Century, arrives. Then come more revelations from Alex Danchev's new biography of the colourful life and work of Belgian artist René Magritte, Magritte: A Life.

The Hunks discuss the latest release from Josh Tillman's Father John Misty.

We dig into Josh Tillman's surprising return, plus new releases from the similarly divisive Jack White and Wet Leg. Download the Callin app for iOS and Android to listen to this podcast live, call in, and more! Also available at callin.com

Jameson is joined by multi-instrumentalist Josh Tillman to discuss his Solo Project, New Single, Collecting Vinyl, Songwriting, Analog Recording, Our love for Van Halen, The Luxuries of UGA buses and so much more.    To inquire about placing an Ad on the Podcast - booking@jamesontank.com Follow along on instagram - @jamesontank27 @radiojanemusic  Watch in-studio on my Youtube channel - 'Jameson Tank Music' Short Clips on Tik Tok - @jamesontankmusic   

Welcome to week 8 of The Spotlight where Sarah Mae and Aaron highlight and discuss their favorite records! Sarah Mae started out the week with Father John Misty's 2012 release, ‘Fear Fun.' This record was Josh Tillman's first album under the musical pseudonym, Father John Misty. Prior to his record he had released 7 previous records and before that he was also a drummer for the band, Fleet Foxes. Sarah Mae praises Tillman for his ability to create very enjoyable and listenable music while also making listeners uncomfortable (in a good way) with the messaging of his lyrics. Aaron brings up that even up to his most recent record (‘God's Favorite Customer' from 2018), Tillman has maintained this talent. This week's second record was Sons of Kemet's 2018 record, ‘Your Queen Is a Lizard.' Sons of Kemet is a critically acclaimed experimental jazz group based in the UK. Aaron discusses how the record's title refers to the queen of England. Meanwhile, each track begins with “My Queen is…” followed by the name of an influential, Black female leader (i.e. “My Queen is Angela Davis” and “My Queen is Harriet Tubman”). Aaron and Sarah Mae discuss the group's intention behind these titles and the importance of uplifting the work of Black female leaders who have been too often sidelined by history. Both of these records give listeners much to think about! We hope you'll give them a listen. Join us for week 9 on November 11th for the next LIVE show! Mondays at 6pm (EST) on wgmuradio.com

First Draft Episode #218: Kyle Flynn Kyle Flynn is the keyboardist with indie rock group Father John Misty, as well as writer of television and movies. Links and Topics Mentioned In This Episode The documentary, The Decline of Western Civilization: Part II, is absolutely incredible Kyle taught himself to play guitar using tablature in Guitar World magazine Kyle and I both went to the University of Washington and graduated from the English department Acceptance (check out their debut album Phantom, and they have reunited and released a new record, Collision By Design) was the pop-punk band who first brought Kyle on tour as a merch guy, and he ended up filling in and touring with them for months Other bands in Kyle’s post-college musical world included my then-favs (okay, still some of my favs), Further Seems Forever, Thursday, Finch, and Yellowcard Kyle and his brother Kevin were friends with comedian and actor Nick Thune (check out his specials, Folk Hero and Good Guy), and when Nick went to Los Angeles to pursue comedy, he sold Kyle and Kevin’s script in the room with Warner Brothers In 2007, right when Kyle and his brother Kevin got to LA to work on the script they’d sold to Warner Brothers, the WGA (Writer’s Guild of America West) went on strike. But Kyle and Kevin made a lot of great connections while picketing with other writers, like Steve Zaillian, Academy Award-winning screenwriter of Schindler’s List Kyle’s friend from Acceptance, Christian McAlhaney went on to join a new band, Anberlin Kyle played in The Narcs, the house band for Nick’s BIG Talk Show, the late night talk show spoof Nick Thune put on monthly at the Upright Citizens Brigade theater in Los Angeles. Other members of The Narcs include: Liv Marsico (of Liphemra and previously drummer with Cold War Kids and Gothic Tropic) and Miles Gray (comedian and current co-host of The Daily Zeitgeist podcast). While doing that gig, Kyle met Josh Tillman (a.k.a. Father John Misty) and left an interesting impression. Josh Tillman (a.k.a. Father John Misty) was previously the drummer in the Seattle indie band Fleet Foxes   I want to hear from you! Have a question about writing or creativity for Sarah Enni or her guests to answer? To leave a voicemail, call (818) 533-1998. You can also email the podcast at firstdraftwithsarahenni@gmail.com.  Subscribe To First Draft with Sarah Enni Every Tuesday, I speak to storytellers like Veronica Roth, author of Divergent; Linda Holmes, author and host of NPR’s Pop Culture Happy Hour podcast; Jonny Sun, internet superstar, illustrator of Lin-Manuel Miranda’s Gmorning, Gnight! and author and illustrator of Everyone’s an Aliebn When Ur a Aliebn Too;  Michael Dante  DiMartino, co-creator of Avatar: The Last Airbender; John August, screenwriter of Big Fish, Charlie’s Angels, and Charlie and the Chocolate Factory; or Rhett Miller, musician and frontman for The Old 97s. Together, we take deep dives on their careers and creative works. Don’t miss an episode! Subscribe in Apple Podcasts, Spotify, Stitcher, or wherever you get your podcasts. It’s free! Rate, Review, and Recommend How do you like the show? Please take a moment to rate and review First Draft with Sarah Enni in Apple Podcasts, Google Play, or wherever you listen to podcasts. Your honest and positive review helps others discover the show -- so thank you! Is there someone you think would love this podcast as much as you do? Please share this episode on Facebook, Twitter, Pinterest, or via carrier pigeon (maybe try a text or e-mail, come to think of it). Just click the Share button at the bottom of this post! Thanks again!g

103019 Josh Tillman "Missionary Guest"

103019 Josh Tillman "Missionary Guest"

On this week's episode, Chanty takes you back to a time when eucalyptus trees hung in front yards, people went cabin to cabin playing each other their new music, and musicians would gather at the store to smoke on the wall, have a chat and see where the night took them. We're going to LAUREL CANYON.Using Michael Walker's book Laurel Canyon: The Inside Story of Rock-and-Roll's Legendary Neighborhood, Chanty tells Lynx about this neighbourhood that inspired some of the biggest artists of our time.How can a place in time be a Muse? In a Muses first, we discuss how a time and place in rock and roll history could be the inspiration behind bands getting together (hello, Crosby, Stills and Nash), how relationships were formed and how this musical oasis turned darker as the generations passed. Today you'll hear about Frank Zappa's log cabin, Chris Hillman arriving at the Canyon, Josh Tillman mistaking it for Topanga Canyon and so much more. Have you ever wondered what Joni Mitchell's house looked like back in the 60s? We've got you covered!

On this week’s episode, Chanty takes you back to a time when eucalyptus trees hung in front yards, people went cabin to cabin playing each other their new music, and musicians would gather at the store to smoke on the wall, have a chat and see where the night took them. We’re going to LAUREL CANYON. Using Michael Walker’s book Laurel Canyon: The Inside Story of Rock-and-Roll’s Legendary Neighborhood, Chanty tells Lynx about this neighbourhood that inspired some of the biggest artists of our time. How can a place in time be a Muse? In a Muses first, we discuss how a time and place in rock and roll history could be the inspiration behind bands getting together (hello, Crosby, Stills and Nash), how relationships were formed and how this musical oasis turned darker as the generations passed. Today you’ll hear about Frank Zappa’s log cabin, Chris Hillman arriving at the Canyon, Josh Tillman mistaking it for Topanga Canyon and so much more. Have you ever wondered what Joni Mitchell’s house looked like back in the 60s? We’ve got you covered!

On this week’s episode, Chanty takes you back to a time when eucalyptus trees hung in front yards, people went cabin to cabin playing each other their new music, and musicians would gather at the store to smoke on the wall, have a chat and see where the night took them. We’re going to LAUREL CANYON. Using Michael Walker’s book Laurel Canyon: The Inside Story of Rock-and-Roll’s Legendary Neighborhood, Chanty tells Lynx about this neighbourhood that inspired some of the biggest artists of our time. How can a place in time be a Muse? In a Muses first, we discuss how a time and place in rock and roll history could be the inspiration behind bands getting together (hello, Crosby, Stills and Nash), how relationships were formed and how this musical oasis turned darker as the generations passed. Today you’ll hear about Frank Zappa’s log cabin, Chris Hillman arriving at the Canyon, Josh Tillman mistaking it for Topanga Canyon and so much more. Have you ever wondered what Joni Mitchell’s house looked like back in the 60s? We’ve got you covered!

Father John Misty's ode to his wife, I Love You, Honeybear, happens to also be a deeply personal album for Daniel. After listening to the record for the first time, Greg learns why it has left such an impact on his youngest son. Find us on Facebook, Twitter, iTunes, and Google Play. Music: https://bensound.com

Barely a year after releasing his apocalyptic magnum opus Pure Comedy, Father John Misty (aka Josh Tillman) is back with another sonic journey into depravity. God's Favorite Customer finds the embattled monarch of the "poem zone" taking a break from battling the evils of modern times to engaging in bloody combat with his greatest enemy and nemesis: himself.Special guests Lindsay Hogan (Talking LIke A Jerk) and Seán Barna join Kevin and Drew as we follow this modern day lizard king down the rabbit hole of his deepest insecurities and regrets to find out what's on the other side for one of this generation's most relentlessly talented (and relentlessly misunderstood) voices.Show NotesWho the f$%k is Seán Barna? Follow the links to find out!Official Site | Facebook | Twitter | BandcampIncidental music courtesy of Aquatic Gardener. Hear more/buy it HERE.Support us on Patreon! [LINK]Support/find out more about Washington, DC's Uptown Art House [LINK] See acast.com/privacy for privacy and opt-out information.

This week Darlingside (13:45) breathe a little hope into a post apocalyptic world with new album Extra Life but first Josh Tillman (7:45) is just a guy standing in front of a green screen asking you to love him. Next, on The Radio Cure! Link to the music and reviews: https://www.theradiocurepod.com/blog/2018/3/6/darlingside-extra-life-ep-57

Father John MIsty's songs have always been filled with vivid (and often flawed) characters, but he's never been as starkly human as he is on his latest full length, 2017's stunning Pure Comedy. The longtime KEXP favorite's newest LP is a sprawling, sometimes dark opus, but in this stripped down session on the Midday Show with Cheryl Waters, the artist sometimes known as Josh Tillman is more revealing than he often is in conversation and across four Pure Comedy songs. Recorded 5/24/2017 - 4 songs: Pure Comedy, Total Entertainment Forever, Things It Would've Been Helpful To Know Before The Revolution, Ballad of the Dying ManSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

About a week ago, Steve received a DM on Twitter from none other Josh Tillman, better known as Father John Misty. This was not the first time he reached out to him — Josh also messaged Steve after last month's episode on "Pure Comedy" with Pitchfork's Jillian Mapes. After that conversation, Steve asked Josh if he would appear on the podcast. Josh said "yes," and because he's a man of his word, he took some time out of his busy schedule to reach out for an impromptu conversation. We cover a lot of ground in this pod: We talk about the scuttled "Pure Comedy" musical, the controversial "Total Entertainment Forever" video, his next record, the video-game habits of his former band, Fleet Foxes, and (of course) the madness of mass media.

Seit 2012 veröffentlicht Josh Tillman als Father John Misty seine üppig arrangierte Popmusik. Sein drittes Album „Pure Comedy“ ist ein Abgesang auf die Menschheit: Gesellschaft, Politik, Religion – nichts bleibt verschont. Oder ist doch alles nur „pure Unterhaltung“? >> Artikel zum Nachlesen: https://detektor.fm/musik/album-der-woche-father-john-misty-pure-comedy

Last Friday, Josh Tillman released his third album as Father John Misty, "Pure Comedy," a sprawling fire-and-brimstone sermon about the state of Trump's America. Steve thinks it's a work of genius — but he also understands if people find it exhausting. To get to the bottom of one of the most provocative singer-songwriters working today, Steve called Jillian Mapes of Pitchfork, who recently spent four hours interviewing Tillman for a story.

Father John Misty (the moniker for Josh Tillman, former drummer of the Fleet Foxes) dropped his third album Pure Comedy, through Sub Pop records this last week. Dan and Jeff discuss the cultural significance of this album, which is a contribution to the conversation about religion, politics, and technological culture today. Tillman reportedly was reading Zizek's Living in the End Times during the recording of the album. That book was part of a Virtue in the Wasteland "class" Dan and Jeff taught last year. Thus, it brings together ViW's favorite themes: where we are going culturally, whether everything will indeed be ok in the end, religion, philosophy, ideology, politics, and well-written pop music. This may not be for everyone, but you may want to listen even if Father John Misty isn't your style. This is because he taps into a very real concern young people (but not just young people) are raising about why it seems so often that conservative religious people act "like godless animals." By the way, the album cover is interesting: it is like a modern take on Hieronymus Bosch. virtuneinthewasteland.com  

Over the course of three albums now, Josh Tillman has made quite the reputation for himself as provocateur extraordinaire Father John Misty. On Pure Comedy, Tillman/Misty is letting it all hang out in a gaudy, profane, philosophically perverse masterpiece that transcends the swarmy persona that people love to hate by speaking up about nothing less than what it is to be human in the modern age. Plus! Cory Branan is back with a new LP (Adios) and we've got the single "Imogene" to help you get re-acquainted with this talented singer/songwriter. See acast.com/privacy for privacy and opt-out information.

I feel like I want to…NEED TO…say something about how I felt about this album…but Chris Cox has told me that when I am doing these write-ups to keep it in my pants…so I won’t say anything about this record…I might have told you that it is the best god-damned thing I’ve heard in years…that it marries Josh Tillman’s incredible gift for melodies, crazy ass lyrics, and brilliantly over the top production in a way that somehow is even better than his 2012 album “Fear, Fun”. I might have said that listening to it makes me want to run outside, climb on my roof, and yell at the world that the world (at least my neighbors that are probably calling the cops on me already) is seriously losing the heck out if they (the world) haven’t heard this album…but I won’t do that. (Editor’s Note: You have completely failed in your mission, Shane) Instead, I will say that this week we discuss Father John Misty’s 2015 record “I Love You Honeybear” and we all had opinions. You Can Get "Honeybear" Here Coming Up Doves. The band, not the shit people release at weddings and funerals. Are doves and pigeons like the same thing, just some are white and not homeless? Shut up Shane you are an idiot. See you in a week,

On our latest podcast, we dig deep into the man, the myth, the legend that is Father John Misty as the gang breaks down his latest effort, I Love You, Honeybear. Is it the masterpiece that everyone expected or just another day in the Josh Tillman’s long strange trip? PLUS!!! New York City contemplates making subsidized housing available to “creatives”, Taylor Swift trademarks everything, Jack White’s guacamole makes the news, and much, much more. Time to shimmy into your sexypants and get comfortable for Episode 101 of ChunkyGlasses: The Podcast! See acast.com/privacy for privacy and opt-out information.

What does one say about Josh Tillman? He is an odd dude. That said, the three of us kind of had a love-in discussing the Father John Misty Album “Fear Fun”. I earned back some good-will after the whole Bon Jovi incident (which I’m gonna need when they see what I have planned next.) A few Josh Tillman quotes: On the writing of Fear Fun: “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…. It was a while before that voice started manifesting in a musical way, but once I settled in the Laurel Canyon spider-shack where I’m living now, I spent months demoing all these weird-ass songs about weird-ass experiences almost in real-time, and kind of had this musical ‘Oh-there-I-am’ moment, identical to how I felt when I was writing the book.” On the name “Father John Misty”: “I had to give it a name, so I kind of wanted to confuse people with this ridiculous red herring [and] admittedly patently ridiculous name that’s also phonetically beautifully and looks good in print. Sort of a name I’ve decided to give to this weird, subconscious, dream fragmentation I have of this homosexual, shamanic drifter who bounces around [and] stirs up weird shit in my dreams. Like making out with my brother. So I guess the aggregate of all those things just felt right. But really and truly, the whole thing is just kind of about the fact that it really doesn’t matter what the fuck you call yourself, as long as the goods are in the explicit honesty.” On the book that he wrote: “It’s about this couple named Charles and Agnes Brimley, and Charles is an author writing this book about a herd of post-apocalyptic chihuahuas,” Tillman explains, “They go to Salt Lake City, walk by a funeral home, impersonate another couple, and order a ’69’ casket for themselves—a casket that you can 69 in. While Charles is writing his book, he gets into the casket and realizes that the voice of God is in there, and God’s name is Josh Tillman, and Josh Tillman divulges the secrets of Charles’ universe. I really like how the book is going so far.” So, pretty great stuff if you ask me. Purchase Fear Fun on Amazon ### Coming Up ### Next week we tackle Hole, “Live Through This”, whereupon I might tackle Kevin for making me live through listening to this album (MY GOD, I’m getting good at this).

Tedd Invades the dressing rooms and trailers of some of the artists playing Coachella. Maynard James Keena & Mat Mitchell from Puscifer, The Wombats and Josh Tillman from Father John Misty. 

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