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专辑名称: Chloë and the Next 20th Century
创作艺人: [Father John Misty]
音乐流派: ROCK|摇滚
专辑规格: 1碟11首
出品公司: Bella Union
发行时间: 2022/4/8
官方标价: £5.99 （会员免费下载）
域名语言: [en] （AI检测）
曲目介绍：
Chloë
Goodbye Mr Blue
Kiss Me (I Loved You)
(Everything But) Her Love
Buddy's Rendezvous
Q4
Olvidado (Otro Momento)
Funny Girl
Only a Fool
We Could Be Strangers
The Next 20th Century
详细介绍:
After flirting with strings and horns over the years, Father John Misty—aka Josh Tillman—has gone all in on his fifth album, Chloë and the Next 20th Century. A collection of wannabe standards, it blows a kiss to Irving Berlin and gives a wink at Cole Porter. You hear it in the Jazz Age giddiness of Chloë, sung with a sort of Puttin%27 On the Ritz delivery: Chloë is a borough socialist/ She insists there%27s not much more to it/ Than drinks with a certain element/ Of downtown art criticism. And it%27s in Funny Girl—with its super playful piano, glistening strings and heartsick trumpet— though the lyrics are completely modern, if a maybe a little stalker-ish: You knocked me out when you charmed the pants off Letterman/ Oh I wish you%27d flash that manic smile in my direction. There are also spare, slow-moving rumba moments like the mysterious The Next 20th Century—which crackles to life with wild piano and guitar near the end—and Romantic-with-a-capital-R Olvidado (Otro Momento), louche with cocktail-bar piano and a bright horn that stretches out lazily, like a woman so pretty she doesn%27t even bother to brush her hair anymore. Light and breezy, and loosey-goosey with a bit of banjo, Only a Fool could have been a Ziegfeld Follies lark. Highlight Buddy%27s Rendezvous is soaked through with mournful sax and piano; Lana Del Rey has already recorded a cover and, truly, it sounds like nothing so much as an LDR song: hellbent on setting a mood. (The title is, presumably, a reference to Buddy%27s, a Detroit pizza institution where the city%27s square slice type was supposedly invented. I%27m at Buddy%27s Rendezvous/ Telling the losers and old-timers/ How good I did with you, Tillman confesses to a woman whose name%27s been dragged around.)
Tillman also adopts a shockingly sincere tone on Kiss Me (I Loved You), its gentle strings and tinkling piano like from a Woody Allen movie you%27re not sure you%27re supposed to enjoy anymore. The end will not befall us/ The sky will not descend/ Life can be more sweet than bitter/ If you%27ll only let me in, he tries to convince a reluctant ex. In a brief break from character, Tillman dons his tried-and-true Harry Nilsson drag for (Everything But) Her Love and the lightly countrypolitan Goodbye Mr. Blue. Most intriguing is Q4, an upbeat, glorious, Kinks-esque chamber pop vessel that%27s like a perfect novella—one about Simone, a failed writer who finds success when she steals the life story of her dead sister: How could she compete? (I%27m sure she wouldn%27t mind) … Leigh died so many months ago (could write the story of her life?)/ By now this tragedy%27s my own. Suddenly, the whole album makes sense as the soundtrack of a movie you really want to watch.