Upon first glance, "I Love You, Honeybear" seems nothing more than a fleeting folk rock act, to which is instantly relieved as the title track kicks in and sweeps you off your feet. Instead, it's a concept album. About who? Himself [Josh Tillman], dealing with his personal life and as he put it: "engaging in all manner of regrettable behaviour."
Contradictory is one of the words that springs to mind when I think of this album, a beautiful, almost whimsical backing with lyrics that showcase Tillman's cynical nature and dry humour, a notable exchange coming from my favourite cut of the album "The Night Josh Tillman Came To Our Apt." The track opens with a poke at those certain people who throws 'literally' into way more sentences it than it should, (certain people we all know) the only response being a sarcastic retort: "Well, it's literally not that." The same goes back at the beginning with the title track, ranging from part-autobiography about his wife or 'honeybear' to straight up satire, the use of 'honeybear' being a joke in and of itself. That is what is so wonderful about this album, the humour being there for only those who want it. "I Love You, Honeybear" could serve as yet another feel-bad tale of unrequited love if you want it to, but pay attention and a whole new layer opens up for repeat listens to take advantage of.
That aside for the time being, the sound that this album adopts is quite unlike any other folk rocker in recent memory. Strings, trumpets and all-kinds of arrangements are used throughout as Tillman's voice calls for your attention. This sprawling style takes an electronic turn on the early "True Affection", oddly one of the most straightforward tracks on the album, commenting on society's turn towards technology (matching the change in tone) and how it leads to emotional frustration. "When can we talk? With the face? Instead of using all these strange devices?", Tillman pleas.
Next in the track listing is the aforementioned 'notable exchange', opening with a sweet guitar riff, maintaining a similar tone throughout its run time as he, Josh Tillman, referring to himself in the third-person, tears a past lover, who is certainly not his 'honeybear' to shreds. "The malaprops make [him] wanna fucking scream," he says, and is frankly well-put. It could serve as a parody of himself as it further unravels, third-person and all, as almost all of his thoughts reflect back onto him, showing his true colours. He is only as bad as what he is saying. That or, it is really as bad as it seems. Begs for choking could only be obliged.
"When You're Smiling and Astride Me" is the closest you're ever gonna get to a sentimental narrative on not just only this album, but with Tillman's entire line of work, serving as another ode to his wife. The opening vocal gets you humming along, truly sugary in its nature and one of the truly touching moments of the album. This almost-sentimental theme is continued on the final track, "I Went To The Store One Day", also written about his wife and how they originally met in a store naturally.
One things for certain amongst all tracks: such a high standard is set amongst them that it is near impossible to fault for what they strive to achieve. Conceptually, it's pretty damn near flawless in critiquing his very own flaws. Be it harshly insulting a past lover to wildly praising his current, it is what it is. Josh Tillman, take it or leave it. "I can hardly believe I've found you and I'm terrified by that," as Tillman thinks about his 'honeybear'.
Alongside this comes "Real Love Baby", a wonderful little single that continues much of the same style that is found on "Honeybear", reverb fully intact. Satire takes a backseat however as an air of humbleness is found, as he's learned to surrender his love to his significant other. He's the flower and his wife is the bee. It's a matter of compromise and that's perfectly okay. It's honesty is bolstered by a soothing tune, especially in its outro as the chorus is burned into your ears, straightforward and heartfelt in a manner that you never thought he could show without cracking a joke.
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