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- Summary: The fourth full-length release for Josh Tillman as Father John Misty was written mostly in New York, including a two-months at a hotel and features contributions from Dave Cerminara, Haxan Cloak, Natalie Mering of Weyes Blood, Jonathan Rado, Trevor Spencer, and Jonathan Wilson.
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- Record Label: Sub Pop
- Genre(s): Pop/Rock, Alternative/Indie Rock, Indie Rock, Indie Folk
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Score distribution:
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Positive: 25 out of 29
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Mixed: 4 out of 29
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Negative: 0 out of 29
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May 31, 2018When Tillman is good, he is very very good: a master of classic melody, even if the source is meta, and something like a true poet when he wants to be.
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Jun 1, 2018With material this timeless, it’s no wonder Tillman has wide enough appeal to co-headline the Hollywood Bowl: Classic-rock oldsters and the Pitchfork generation can both hold him up as a gold standard. An album this good is its own happy ending.
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May 29, 2018There's enough variety mixed in to keep the instrumentals fresh, with luxurious string passages, warm organ swells, overdriven guitar riffs, some harmonica and even a fuzzed-out synth tone.
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Q MagazineMay 22, 2018This is a heady journey through excess, absurdity and 21st century mores from arguably the world's most eloquent singer-songwriter, which seems to take us that bit closer to who he really is. [Jul 2018, p.117]
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Jun 1, 2018Tillman’s voice--which rarely gets mentioned in considerations of his success--is as wonderful as ever, clear and true, and warm and approachable, even if close examination reveals the deep damage beneath the veneer.
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Jun 5, 2018God’s Favourite Customer leaves the over-wrought and possibly over-thought days of Pure Comedy in its slipstream in return for something just that bit purer. True, the fun days of I Love You, Honeybear et al may be gone, but what a sacrifice if this is what we get in return.
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Jun 1, 2018For now, we’re stuck with a record that’s both intentionally and unintentionally frustrating: A record about self-loathing where the actual remorse is absent, where its creator would insist that’s the point.
Score distribution:
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Positive: 22 out of 24
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Mixed: 2 out of 24
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Negative: 0 out of 24
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Jun 2, 2018
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Jun 1, 2018Such a sad and honest album. Wonderful production by a truly singular voice, double entendre intended.
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Jun 1, 2018
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Aug 26, 2018
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Feb 23, 2020
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Jun 5, 2023A very solid album, however some of the songs have trouble standing out from the rest
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Jul 21, 2018The melody seems sometimes repetitive. It's a decent album but it does not add anything to your experience as a listener.
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