Father John Misty’s November 2024 release, “Mahashmashana” (thank you, copy and paste), is a masterclass in existential storytelling. It is also an exploration in musical artistry. Joshua Tillman is renowned for his sharp wit, evocative lyrics, and genre-defying sound. Under his enigmatic moniker, he crafts a record. It feels as much like a meditation on the human condition as it does an album.
The title comes from the Sanskrit term for cremation grounds. It sets the tone for a work that explores themes of mortality, transformation, and the absurdities of modern life. Which, if you are a fan of Tillman’s work, shouldn’t sound too out of scope. But this is his most richly orchestrated album to date, with lush arrangements and moments of raw intimacy.
An Epic Beginning: Mahashmashana
The excellent opening and title track, Mahashmashana, is an ambitious nine-minute-long piece that encapsulates the record’s scale and ambition. From the outset, its rich orchestration and haunting choral arrangement create a sense of grandeur. It has a steady, almost funereal drumbeat. The cinematic crescendo pulls listeners into a world of apocalyptic imagery. It invites existential reflection. “…what was found was lost. Yes it is. Yes it is. Yes it is…..” he sings at the end.
He admits in an interview that it was “written from a dream-logic place, but in the end it’s, like, ‘Yeah, maybe there’s reason to believe that the real truth of our experience is non-human — but the flesh wins every time. The body wins. It’s just too vivid. The hallucination is too strong.'”
The second track, …She Cleans Up, shifts into chaotic art-rock territory. Jagged guitar riffs, a wailing, filthy sax, and a disorienting tempo characterize the track. Its unrelenting energy sharply critiques the fight against exploitation faced by women in the entertainment industry. This song is a standout example of Tillman’s ability to merge social commentary with sonic experimentation. The song ends sharply: “I know just how this thing ends. It’s a good thing God gave us someone on whom we can depend to clean up“.
The third track, Josh Tillman and the Accidental Dose, veers into surreal, semi-autobiographical territory. It turns out to be very instrumental. The song chronicles a hazy, psychedelic misadventure, with lyrics like “You’re in no shape. In no shape. All the king’s horses, all the king’s men. You may never be whole again.” But of the eight tracks on offer, this is the most passable, in my view.
Mental Health is a standout moment that blends satire with lush orchestration. On this track, Tillman builds on swelling strings. He adds a wistful piano, giving the song a paradoxically serene quality. Meanwhile, Tillman delivers biting observations. “Oh, magic child. Run, baby, run, baby, run, baby, run. The one regret that’s really pretty tough. Is knowing I didn’t go nearly far enough,” he quips at the end. You must listen to this song in these eight tracks to explore his mind.
As the album progresses, Screamland emerges as its emotional and thematic centerpiece. The song is a sprawling exploration of urban alienation and the paradoxes of modern life. The track has subdued verses that build into explosive, electronically charged choruses. It mirrors the overwhelming sensory overload of life in a hyper-connected world.
Tillman’s lyrics cut to the core: “Stay young. Get numb. Keep dreaming. Screamland.” The dynamic arrangement captures both the beauty and chaos of our existence. It reflects how life may be now, making it one of the most impactful moments on the album. It ends with the bridge: “Love must find a way, Love must find a way. After every desperate measure, just a miracle will take.”
Being You offers a quieter, more introspective moment on “Mahashmashana”. The track is built around dreamy strings and then, eventually, a saxophone. It reflects on the tension between his public persona and private self, a recurring theme in his work. “I grab the bill. My hand says I insist. Funds are moving. I am doing this,” he sings, capturing the complexity of identity in the age of performative authenticity. The sparse arrangement allows Tillman’s voice and lyrics to take center stage, creating an intimate and poignant listening experience. Love it.
OK, my favorite track. The 8-minute I Guess Time Just Makes Fools of Us All shifts the mood. It becomes something lighter, though no less thought-provoking. I had to convince my wife that this was a disco/dance song. It took some time, but I got her there eventually! My favorite lyrics of the album which Tillman has made: “I killed a rattlesnake this morning. It was coiled up behind the truck. Put it in reverse and hit him clean. But something he said went in and stuck. “Hey, I can sell you a million records I mean your image could use an overhaul. Don’t you know time just makes fools of us all.” Beneath the danceable surface, Tillman reflects on the inevitability of aging and the absurdity of human ambition. It’s so fun to listen to. I’m not surprised it was released early to be on his Greatest Hits compilation.
The track’s vibrant energy and reflective undertones create a dichotomy that is quintessential Father John Misty.
The album ends with Summer’s Gone, a sweeping and emotional finale that ties it all together. The song starts with a gentle piano and very subdued strings. It gradually builds into an orchestral crescendo reminiscent of the opening track. It is all instrumental and very, very beautiful. “Wish for skies of grey in the heat of the day. Until summer’s gone until summer’s gone. Until summer’s gone, until summer’s gone.”
“Mahashmashana” stands out for its seamless blending of musical genres and thematic richness.
From orchestral grandeur to disco-funk rhythms, this album defies easy categorization, reflecting the complexity of its subject matter. Tillman’s mastery of both composition and storytelling is clear throughout. He navigates topics like mortality, identity, and societal critique with equal parts humor and sincerity.
Conclusion: A Career-Defining Work. His best.
With “Mahashmashana,” Father John Misty has created a record that is as challenging as it is rewarding. The thematic depth and musical ambition make it one of the most significant works in his catalog. It’s his best since 2017’s “Pure Comedy.” This work cements his place as one of our most thought-provoking artists. The album invites listeners to grapple with life’s big questions while marveling at its fleeting beauty.
It’s not just an album. It’s a profound meditation on what it means to live, love, and lose. These experiences occur in a world that is both absurd and beautiful.
9.5/10
Chris Garrod, December 13, 2024