When I was young, I had this contrarian thing, and my music for a long time was an extension of that. I didn't want to entertain people; I had too much vanity to be an entertainer. I think that some layers of vanity came off.
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When I was young, I had this contrarian thing, and my music for a long time was an extension of that. I didn't want to entertain people; I had too much vanity to be an entertainer. I think that some layers of vanity came off.
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With sad music, or music that's perceived as sad, there's a sense of solidarity that can be really powerful. My songs are all joyful to me.
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Music is chaos. When I write songs, I'm opening the door to madness.
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I would play my Dungeons and Dragons songs and watch people's eyes glaze over, and then I would start joking around between songs, and all of a sudden people were lighting up and engaging.
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Interpretive thinking, as an art form, is dying.
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I had this revelation, you are a lot better at the between-song stuff than you are at the song stuff. That was devastating. And I usually find devastating things to be pretty valuable.
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What a crazy coincidence that the teaching of Christ sees to be so compatible with late-era capitalism, suburban isolation, rampant consumerism. And so I am not ever surprised when I see evangelicals contort themselves to justify supporting Donald Trump.
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J. Tillman was kind of an alter ego. There was a lot I didn't want people to know about my real life. With Father John Misty, I leave everything in: so much so that I lose sleep before these albums come out because there is always a line or two in there where I'm just like, 'This is not going to go down very well.'
