Rating: 8.5/10
Joshua Tillman, also known as indie folk rock singer Father John Misty, blended eerie omens for the state of humanity with timeless and genre-mixing instrumentals in his sixth studio album, “Mahashmashana.”
Tillman, the former drummer for the indie rock Fleet Foxes, named the album after the Sanskrit word Mahāśmaśāna (महाश्मशान), meaning “great cremation ground.” The title’s reference to death and spirituality is clear throughout the record as if Tillman wanted to combine bleak lyricism with ballads and jazz beats.
While the album skips between ballads and headbangers, Tillman’s overarching message of gloom, self-doubt and warning is present in nearly all eight tracks.
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The titular track, “Mahashmashana,” is a nine-minute ballad that belongs in the climax of a coming-of-age movie. Tillman’s production quality has notably risen from his previous works like “Fear Fun” (2012).
Tillman’s genre-bending continues with the second track, “She Cleans Up.” The track combines the beats that could be heard in a 2000s rock hit with a hint of funk undertones.
The rapid speed of Tillman’s singing makes it feel like he’s racing against time, and the cacophony of brass becomes more disorienting throughout the song. The progression of the backtrack and lyricism makes it seem as though Tillman is descending into madness.
“Josh Tillman and the Accidental Dose” paints this same madness with a different brush. Disguising pain with a softer, jazzier twist littered with strings, the song discusses psychedelics and feelings of inferiority. Tillman’s ability to make struggle beautiful is a unique feature of this album and “I Love You, Honeybear” (2015).
Despite being tucked in the middle of the album, “Mental Health” is a clear standout track in the album and Tillman’s discography. The orchestral track gives this song a sense of grandiosity, while the lyrics echo the other songs’ eerie undertones.
“Oh identity your milk white shadow/ Just tries something that you wouldn’t do,” Tillman sings.
Tillman’s identity struggle is masked with jazz, a theme prevalent throughout this album. It makes the listener wonder about Tillman’s sanity and ability to hide his emotions.
Pivoting away from himself, “Screamland” delves into the meaning of being. The beat drop is larger than life, juxtaposing an otherwise mild-tempered track. Lyrics like “Stay young” and “Keep dreaming” are intended to preach the importance of hope to the listener.
Violin was the featured instrument of the album’s sixth song, “Being You.” Similar to “Mental Health,” the song tackles topics like identity and judgment. Tillman sings about forcing himself to care about those around him, possibly referencing an inability to connect with others romantically in the face of low self-confidence.
“Maybe the stunt guy was my true self,” Tillman sings.
“I Guess Time Just Makes Fools of Us All” is similar to “Being You” but has a more melancholic tone. He seems to be describing the losers of society and the constant stream of losses the average person may face. Lyrics like “An amnesiac, a himbo Ken doll” show Tillman’s frustration with modern stereotypes.
Closing the 50-minute album, “Summer’s Gone” is a whimsical and dreamlike ballad. With a chorus straight out of a classic Disney movie, the song was a different yet powerful ending for a Tillman project, echoing his growth as an artist with “Mahashmashana.”
