The return of our favorite charlatan – Observer

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It is possible that the world appreciates the character of an antichrist more than it likes to admit. And in the afternoon The virtue of signs, where we are on alert almost 24 hours a day and strive to maintain an impeccable facade of people, if there is one thing we do not admit is our imperfections: we publicly claim our sincerity, we are for everything right and against all things wrong, we will not We are able to mumble, make a non-exhaustive joke, and lie to get rid of it. We were taught from a young age to look good in public and never took this rule so far before, as if we lived forever on the day of our first communion: a regretful face, folds in the pants, a pressed shirt, a flower in our hands and in every word.

But beautiful bodies also hide the gut, and in secret we are not only perfect but imagining the forbidden, we flirt with perversion, and admire the abyss. Here appears the form of a charlatan—here or, to use a classic picture, at three o’clock in the morning, when (a little drunk) he steps (a little bewildered) towards the maiden and what we, other than the charlatans, we do not know, but he is the one with whom you go home. Not that she totally believes in it – there are simply those who have the gift of speech and charisma, and sometimes we need to believe in something, in any thong, as long as it’s a good thong.

Much of the pop is due to identity confirmation. Some of the identities are clear: Beyoncé is a woman in control of her own destiny. Jay-Z (to put it mildly for people who know each other vaguely) is the point shot. Others (like Kanye West) were always more turbulent or (like Prince) more sophisticated. Father John Misty’s character lived for many years in various forms of imposter.

[Kiss Me (I Loved You)”:]

At first, it was something of a quinoa-era Parsons gram, an urban cowboy prone to drinking and drinking that made him the least likely person to be baptized in time for his nephew’s baptism, automatically giving him the status of a boy who needed to be saved.

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Slowly, Misty revealed the character to several: She added gravity pretend to be joker That was just joker Because it is difficult for him to reconcile with his feelings, a difficulty that has led him to sin. He admitted the trauma inflicted on him by his highly religious childhood at the hands of his conservative parents (which, as we know, led him to alcohol, drugs, and sin); Finally, in recent years, he appears to have begun a general transformation of previous sin into the process of redemption.

This figure – who drinks, takes drugs, cheats and is unreliable, but who deep down is a good person and just needs love and maybe nothing like that, maybe it’s just theater or otherwise, just to complicate matters, at first it was theater and in At one time he lost himself in his character – he has been around for a long time: in its purest aspect (as in the case of Gram Parsons or Towns van Zandt) we find people with unprecedented suffering, confirmed by their biographies, which at times (or most of the time) had Abominable human behavior and used alcohol and drugs as an escape from self-analysis but also from anxiety and depression (it didn’t work).

[“Goobye Mr. Blue”:]

Tom Waits, how will you know who has read it? the underside of the road, the unauthorized biography of Barney Hoskins, is hard to discern: Abandoned by his father at a young age, Waits has spent his life searching for a father figure, which for him means drinking, promiscuity, smoking heavily, and a deep voice. His musical production in the early years – as if from the singer Defeated Vegas if that’s the case, a singer who can’t help but sing about the bums and wishes to credit them with the greatness the real world refused to give – he was too romantic to be a caricature, and we shouldn’t forget that at one point Waits’ personal life became a caricature of him Character Artistic – already a cartoon in itself, in an unhealthy overlay of masks.

Married to Kathleen Brennan, Waits fled Los Angeles and the streets, and when he settled down, curiously, his musical productions saw a launch, become more serious and varied, and Waits seemed to have better control of his character—and this control served him well to distinguish between the man on stage and the man on the stage. He comes home and has three diapers to play with.

Evoking Wits is not accidental, because Chloe and the next twentieth centuryFather John Misty’s latest album, sounds like Tom Waits from previous recordings several times over: A the singer From the sound of suffering that sings the ills of love and the little miseries surrounded by ropes, whose greatness is inversely proportional to the smallness of the stories.


It may come as a surprise, but Misty’s path was already heading towards these stations: if Misty began as a folk man who sang what was within him, and was equipped, above all, with a guitar, in all the recordings his voice was gaining an accent the singeryours Character He became fitter, like a pretend poet to the point that he pretends to be the pain he really feels.

it’s the crooning It is the perfect vehicle for this noble activity: with its penchant for amorous misfortune, and with its over-delivery of words, with its lust of strings, the singer It transports us to a world where there are no wars, or hunger, or quarrels with neighbors about the dog that eats plants, there is only you and me, my love, and you want me, and I know, and I don’t know how to live without you, come to dinner with me because I’m a good listener (and at last I ask for a bill tax).

Hats off to Misty, because right after the first song, “Chloe,” he’s a candidate to appear on the Woody Allen movie soundtrack, with muted trumpets, brushes, and soft piano melody (doubled on the organ). hall), woodwinds, xylophones, strings, and a whole host of instruments that, if booklet From the disc listing them all in every song, Amazon will suffer.

[“Funny Girl”:]

Chloe and the next twentieth century Not always an outright cabaret, but cabaret suits Misty well—although after the second song, her world favorite turns out to be closest to American music: “Goodbye Mr Blue” could be a Townes van Zandt song, with a subtle finger and pretty slide guitar that give her features ethereal. These are the two most extreme poles Chloe and the next twentieth century And the rest of the disk runs between these two extremes.

“Kiss Me,” Misty’s take on the classic American love song (as crystallized musically by Randy Newman, but only musically, which in Newman’s formulation is too sarcastic for most tastes) is sure to amaze you. hearts; Running the same track as “Funny Girl,” the cutest Judy Garland ever, while “Buddy’s Rendezvous” is Tom Waits from the start looking for plagiarism.

[ouça “Chlöe and the Next 20th Century” na íntegra através do Spotify:]

Occasionally Misty drops the honey, or at least shakes it: “Q4” could be a divine comedy song; “Only an asshole” is back in the country again; Mansi, despite the strings, has an almost hammock-bossa. But the distinguishing feature Chloe and the next twentieth century is that it can be heard by the pool, in the company of Daiquiris, in the elevator and in the hotel bar – or even in the room, alone, deserted, feeling sorry for ourselves, forever alone.

I have a theory about Father John Misty: He never makes a perfect record from start to finish, but he also doesn’t know how to make a bad one – he’s too handsome for that, so much tin, and the tin makes him convincing whatever role he plays. In this case, as Barney Stinson put it, “the suit.”

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