Fear. Fun. Ink. | Music

Josh Tillman talks Father John Misty while getting a new tattoo in Berlin, June 2012

by Kasia Pilat

 

It had been three years almost to the day since I’d first met Monty.

 We first met in October of 2008, in the courtyard of a bar in Melbourne, Australia. I was there on a visit with my classmates on a trip from Sydney. We were there, in Australia, studying abroad. Monty was there, living — though, admittedly, not at the bar.

 I’m not sure how exactly contact initiated, but eventually Monty and I got to talking. He does a spot-on Roy Orbison impression, and he knew where to get the best shawarma Melbourne had to offer — signs of a true friendship sure to last a lifetime. Before I returned to Sydney, we said we’d keep in touch through the social networking wonder of — what else? Facebook.

 “My photo is of me and my mate and a pyramid of beer cans,” he told me, so that I could be sure I’d added the right Monty.

“Mine is me in front of the Sydney bridge,” I said. A few days later, according to Mark Zuckerberg, we were friends.

 Eventually Facebook told me Monty was embarking on a journey to Europe. I was living in Prague at the time, and when he and his friend came through town we met for a few beers and for a round of “what have you been doing for the past three years” catchup. Eventually, he relocated to Berlin, where he took up tattooing pig skins and, eventually, people.

 Enter Father John Misty. Or rather, enter Josh Tillman, the guy who started the band whose name is often confused for a new pseudonym or alias. Tillman’s first record under the Father John Misty moniker, Fear Fun, was released in April of 2012. In support of it, he embarked on an extensive international World Tour. The second stop of this tour, right after his gig at Barcelona’s Primavera Sound festival, happened to be Berlin, and Monty happened to be free that night. I had sent the link to Monty’s tumblr to some PR people, who had sent it to some other people, who eventually passed it along to Josh Tillman. Though initially he says he was skeptical about doing a few hours’ long tattoo-and-interview combo right before a solo show, he also admits that it was Monty’s singular, simple style and clean, elegant lines that eventually proved too enticing to resist.

“I was totally like, ‘No, I’m not gonna do that,’ and then I saw your work and I was like, ‘Oh, yeah,'” he told Monty shortly after they met at Berlin’s Magnet Club.

 photography by Alexandra Timpau

 The night of Tillman’s performance in the fashionably grungy district of Berlin’s Kreuzberg, Monty and his assistant-friend Alex met my camera-girl friend Alex, camera-guy friend Andrew, and I, in front of the venue, where we discussed a game plan while a chilly rain drizzled down onto the awning above us. It was way too cold for June. Monty, understandably nervous about permanently putting ink into the skin of a fairly well-known musician, wanted to know what the request would be as much ahead of time as possible so that he could sketch and prepare something. There was no information, however, until about 20 minutes before our set time to meet, when my contact SMSed me. “He wants a hand with flames coming out of it,” was all we got. Slightly phased, our intrepid team went forward into the unknown: or in our case, into Magnet Club’s spartan backstage space.

 After shaking hands with Tillman and his girlfriend, filmmaker and photographer Emma Elizabeth Garr, stealing some of the free backstage food, setting up the tattoo table, talking about Tillman’s post-apocalyptic novel starring a fleet of Chihuahuas who misinterpret the actions of humans, a bit of chest shaving, and Monty’s sketching, erasing, and re-sketching, it seemed we were ready to start. Then we had to turn the table around, get Monty a better seat and add a lamp. Then, we were really ready to start.

 

A few years ago, Tillman tells us, feeling as though he were gradually wearing out the comfort of his alter-monicker J. Tillman, he decided it was time for a change. His role as drummer of the Seattle-based harmony-heavy Fleet Foxes, and his solo efforts released under the name J. Tillman, didn’t offer him the creative outlets he craved, so he set out for L.A.

Well, kind of.

“L.A. is more a place where I kind of ended up,” he explains. “I definitely didn’t set out to move there, I just kind of set out to just leave Seattle in general. But I have a pretty morbid sense of humor.”

“I was just driving around California, writing this book and eating mushrooms and hiking and meeting people and just kind of sleeping in my van and having fun. It was a really beautiful, a very liberated time. I felt pretty — I don’t know, pretty stuck in Seattle. I was in Big Sur, and a friend of mine was like, ‘So are you gonna live somewhere, or are you just gonna, like, sleep in your van?’ And I thought, ‘Yeah, well, I kind of want to move to California,’ and he said, ‘I just got a call from my friend Derek like five minutes ago saying that he’s looking for someone to move into — they have like an extra shack. He has a house in Laurel Canyon.’ And I was like, ‘Yeah, Laurel Canyon — That’s, like, the place way outside of town, right?’ thinking it was Topanga Canyon. And, ‘Yeah, that sounds quiet and fun. That’d be good for me. Like a quiet place…’

And then, lo and behold, I’m following the GPS and I’m like, ‘Huh. That’s the Hollywood sign,’ and I honestly think that like, half of the album got written in that moment. I think that in that moment where I was just laughing, I realized, ‘Look out Hollywood!’ you know. Just kind of a very sarcastic, hilarious, morbid sentiment. But realizing that was the kind of thing that I never really could have engineered for myself, but was glad that it happened that way, and I was very open. I was pretty much open to anything at that point because the things that I had engineered for myself had turned out so miserably that I didn’t really trust myself to make any good decisions.”

 photography by Alexandra Timpau

Tillman was born to two devoutly religious parents who named him after Joshua, the Biblical figure who was one of the 12 spies of Israel sent by Moses to explore the Holy Land of Canaan. And, after Moses died, Joshua was the one who took over. According to Tiillman, his name was a constant reminder of the virtues and character he didn’t seem to share with a Biblical character. This conflict with his own name prompted a unique view of names themselves.

“I address it pretty explicitly in ‘Every Man Needs A Companion.’ At the end, you know, I say, it’s as simple as this: I never really liked my own name. Because my name is just a symbol to my parents,” he explains. “It was what they wanted me to embody or something.”

“I was reminded of what my name meant when I misbehaved or didn’t live up to my namesake. I was reminded of what my name meant, and I was like, ‘Well, fuck that, I’m not that guy. Without that name I’m just this, like, thing that is autonomous and independent.’ I also didn’t use the word ‘autonomous’ when i was like, ten, but I’ve always lived in a world of abstract thought by virtue of being raised religiously and by virtue of how my parents think, living in this very symbolic world, so it’s no wonder that I kind of think about things in those terms.”

 “That you turned out the way you did,” I offer.

“Right,” he responds. “Like a total dumb-dumb.”

But Tillman’s choice of Father John Misty for a band name is his own proof that names have no bearing on actual talent or virtue.

“Band names are funny,” he says. “Like if your band sucks and you have a stupid name, people will say, ‘That’s a terrible band name,’ but if they really love your music they do not care what it’s called. I think that Led Zeppelin is actually a terrible band name — and it’s even born out of this terrible Keith Moon joke — but Led Zeppelin fucking rules. And it doesn’t matter; the words are completely transformed by the quality of the music.”

 Tillman says that the three seemingly disconnected words, Father John Misty, just kind of came to him, as if in a dream. For him, the name’s phonetics and the confusion it inspires are also part of its appeal.

 “Misty is sort of like a stripper name or something, or like a horse name, and it is also something from my past.” Tillman explains that he read a 1947 book by Marguerite Henry called Misty of Chincoteague growing up, as well as its sequels, which included tales about wild horses that lived on Chincoteague Island off the coast of Virginia.

 “I always fucking loved that idea,” he says, explaining that the books were part of the reason Misty was a name that had been floating around his subconscious since childhood. Combined with John, which he calls a “name-themed name,” he thought it was the perfect pairing.

 So far the Father John Misty band name has been a misleading one for many people — it can easily be confused for one man’s alias and Tillman did, indeed, go solo — but this nominal red herring has given Tillman what he refers to as a sort of newfound freedom, albeit a somewhat complicated one. We discuss the Charles Bukowski-Henry Chinaski duality, and Tillman notes a Philip Roth quote that he put in his bio.

“‘It’s all of me and none of me,'” he quotes, “And if you don’t see that then you won’t get it.

 It’s a difficult one to explain any further than that; that really says it. Either people really get it or they have no idea what’s going on. Or they have this kind of flippant idea that it’s super easy to write in this explicitly specific, emotional way about a person that doesn’t exist. Like, I can’t do that, I’m not that good; I’m not like fucking J.R.R. Tolkien.”

 If the new band name gave him a freedom with which to write, then Tillman’s relocation took that freedom several steps further. In Seattle, for example, he says that the ideas and stylings he had in mind for his music videos were not the kinds that were to be appreciated by Seattle’s somewhat crunchy crowd. It was only when Tillman relocated to Hollywood — movie magic capital of the world — that his music video dreams could come true.

 “In Seattle, I couldn’t have made those music videos,” he says. “But in Los Angeles, you say, like, ‘Hey, I want to cut my finger off cutting a pentagram into a pizza and have, like, beautiful chicks firing guns,’ and somebody’s like, ‘Yeah, let’s do it; that sounds hilarious!’ and that’s amazing for me.”

So amazing, in fact, that Tillman says right after the completion of his first music video — a somewhat grim, haunting look at actress Aubrey Plaza smashing up a party and biting into flowers set to the tune of “Hollywood Cemetery Forever Sings” — he couldn’t bring himself to keep control of his emotions.

 “I was walking around for days afterwards just crying out of nowhere or just breaking things because nothing felt real,” he says. “Everything felt like a dream a couple days after that video.”

 The freedom of Tillman’s new Father John Misty skin has inspired extensive bursts of creativity in him. In addition to the heaps of literature he’s cranked out that’s also included along with copies of Fear Fun, as well as the aforementioned Chihuahua volume, Tillman says he’s already got his next album written and even the album cover picked, he just needs a few months to finish the lyrics.

 “This voice, this thing — I’m excited to use it,” he says. “It’s like a new tool.”

 In his own words, Tillman admits that he writes “fairly obsessively,” and this has helped produce the material that fans will have to wait to hear. He also says he’s looking forward to looking back on Fear Fun as being the “really primal, fundamental demon” that got him started. For the time being, he’s dived deep into the making of music videos, an activity that he says he was surprised to have found so fun. In “Nancy From Now On,” Tillman’s girlfriend Emma Garr makes a dazzling appearance, and overall his first few videos have been as entertaining as they are dizzying, with semi-linear plot lines, plenty of drugs and liquor, and, of course, hot babes shooting guns. For the next video, Tillman says he’s planning something animated. With so many creative projects, it would be easy to get distracted. But the next album seems never far from his thoughts.

 “It’ll be a fairly massive production to be able to do it in the way that I want to do it, so it’ll just be a matter of finding the time to do it,” he says. “But I’m [also] just loving playing these songs live and touring with the band.”

 photography by Alexandra Timpau

After hours of talking and tattooing, the final product — a flaming hand over waves of water — is finally finished. Monty gives it a rub-down, and Tillman gets up from the table and gives him a lingering hug before he walks over to look in the mirror. He smiles and turns to show Emma, who’s already smiling back. “It looks so awesome,” he says. “I fucking love it.”

In the meanwhile, Tillman’s tour manager has come in and told him, “You’re gonna have to go on straight away, basically.” Approximately 15 minutes later, that’s exactly what he does, traveling down the stairs to the Magnet Club’s main stage and playing a solo show, just him and a guitar. Nobody would be able to guess that he had just been having a needle drilled into his chest-skin while answering questions for the past few hours with the way he goes through acoustic, energetic renditions of his Fear Fun songs. Nobody, that is, until he lets them in on the secret himself:

“My new friend Monty just gave me a new tattoo upstairs.” And just like that, Monty’s done it again. No Roy Orbison impression necessary.

 

 

 



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    One of the best artists of his generation. I'm very impressed (and I go back as far as my high school days dancing to the Big Bands, Tommy Dorsey and Benny Goodman, Frank Sinatra was the singing "idol", though not mine–I much preferred Pete Seeger and Hank Williams–). Carry on, Father John!

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