The voice of and for USM students


The voice of and for USM students


The voice of and for USM students


Father John Misty’s ‘Chloë and the Next 20th Century’ swings into jazzy old Hollywood


Father John Misty, also known for drumming in the folk band Fleet Foxes, released ‘Chloë and the Next 20th Century’, which feels like a love letter, with all its ache, sealed with a kiss.

It is a spinning record of romance- or romance that once was- accompanied by orchestral gleaming and yearning. ‘Chloë’ transforms old-school show-like music into a modern tale for the ears.

This album feels as if I were trapped in a silent noir film of the twenties but still enjoyed it while lounging in pearls and smoking a cigar. It’s great in all its dreamy, moony-glance, stary-eyed, ballroom dance-esque air.

‘Only A Fool’ is my favorite track on ‘Chloë,’ especially considering that I immediately imagined it to star in a ‘Toy Story’ movie. It’s got a warm, familiar feeling–a journey-ish, going downtown type bop to it.

Lovers turning into strangers seems to be a common theme throughout the album hence ‘Only A Fool’ and ‘We Could Be Strangers’ for example.

“Life can be cruel now and then, but I couldn’t fathom way back when how I’d long to have you,” Josh Tillman, the man behind Father John Misty, sings.

This lyric compares their relationship from what it once was, to what it is now–seemingly nonexistent. 

The title ‘We Could Be Strangers’ hints at this theme explicitly inching toward the classic end of lovers. 

I absolutely adore ‘Funny Girl’ as its ending is beautiful, though the contents of the song may be poking fun at Hollywood and its philosophies.

‘Kiss Me (I Loved You)’ is purely yearnful even though its referred love is in the past, lingering. 

“Our dream ended like dreams do,” Tillman sings. 

‘Olvidado (Otro Momento)’ sounds like soulful elevator music if elevator music could be soulful. 

“All I want to say is words have failed me many times before, but never so completely as with you,” sings Tillman.

It’s the conclusion of feeling completely misunderstood in a romantic relationship. 

‘(Everything But) Her Love’ is brilliantly pieced together with the feel of a waltz touched with the psychedelia of the sixties and seventies. It sounds rich in magic.

‘The Next 20th Century’ stands out the most on the album with its heavier guitar, progressing in the midst of the song, then transforming back into this glittery, charming feeling. 

This charming feeling reminds me of ‘Wicked Game’ by Chris Isaak somehow with its pulsing ambiance–almost like the background music of an 80s prom dance movie scene. There’s a groove hidden behind everything that gives it this mysterious, at times whimsical, tone. 

‘Chloë and the Next 20th Century’ incorporates the tones of the jazz age and old Hollywood, type of music, which peeks through its occasional bleak lyrics as dreamy, alluring, and fascinating.

 It’s a sound I can’t get tired of. 


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