---
product_id: 40484144
title: "I Love You, Honeybear"
brand: "father john misty"
price: "$1003"
currency: MXN
in_stock: true
reviews_count: 12
url: https://www.desertcart.mx/products/40484144-i-love-you-honeybear
store_origin: MX
region: Mexico
---

# I Love You, Honeybear

**Brand:** father john misty
**Price:** $1003
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** I Love You, Honeybear by father john misty
- **How much does it cost?** $1003 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.mx](https://www.desertcart.mx/products/40484144-i-love-you-honeybear)

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- father john misty enthusiasts

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## Description

I Love You, Honeybear was recorded intermittently from 2013 to 2014 in Echo Park, Los Angeles and produced with Jonathan Wilson, who I also recorded and produced 2012’s Fairly Fun with. There’s a case to be made that it sounds and acts a bit like solo-era John Lennon, Scott Walker, Randy Newman, Harry Nilsson, and Dory Previn, while taking more than a few cues from Woody Allen, Kurt Vonnegut, Alejandro Jodorowsky and Muhammad Ali. Blammo. It has a decidedly more soulful presence than Fear Fun, due in no small part to the fact that I am truly singing my ass off all over this motherfucker. The album is really characterized by the scope and ambition of the arrangements. Nearly every tune is augmented by something special, be it orchestral strings, a mariachi band, questionable electronic drum solos, ragtime jazz combos, soul singers, or what have you. I’m pretty sure there’s a sitar in there somewhere. Blammo. My ambition, aside from making an indulgent, soulful, and epic sound worthy of the subject matter, was to address the sensuality of fear, the terrifying force of love, the unutterable pleasures of true intimacy, and the destruction of emotional and intellectual prisons in my own voice. Blammo. This material demanded a new way of being made, and it took a lot of time before the process revealed itself. The massive, deranged shmaltz I heard in my head, and knew had to be the sound of this record, originated a few years ago while Emma and I were hallucinating in Joshua Tree; the same week I wrote the title track. I chased that sound for the entire year and half we were recording. The means by which it was achieved bore a striking resemblance to the travails, abandon and transformation of loving someone. There: I said it. Blammo. -Josh Tillman, aka Father John Misty I Love You, Honeybear was produced by Josh Tillman and Jonathan Wilson, mixed by Phil Ek, and mastered by Greg Calbi.

## Images

![I Love You, Honeybear - Image 1](https://m.media-amazon.com/images/I/61+tyR85ZRL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ 5.0 out of 5 stars







  
  
    8.8
  

*by  ***N on Reviewed in the United States on May 5, 2015*

This might be the quintessential hipster album—and I mean that in a good way.Granted, there’s some debate about what constitutes a hipster, and whether it’s a pejorative term; few of them (us?) would self-identify, but if you’re wearing a beard (as Josh Tillman does) and getting an 8.8 in Pitchfork (as this album did) it’s a pretty safe bet you are one. Not that there’s anything wrong with that.Rob Horning speculated in 2009 that the hipster was the “embodiment of postmodernism as a spent force.” The postmodernism part fits—this album is clearly the work of someone who’s spent more than his share of time listening to and deconstructing other things (in this case, classic rock). There are echoes of George Harrison’s gentle guitar weepings in the beautiful and awesomely-titled “When You’re Smiling And Astride Me,” which could have been a lost track from “All Things Must Pass,” except for the fact that it’s better than everything that ended up on Disc 3 of that album. “Nothing Good Ever Happens...” features some great country-fried slide guitar; Gram Parsons might have recorded it, but for the fact that nobody could drop the f-bomb on a record back then, or say that a woman “gets down more often than a blow-up doll.”  “Bored in the USA” is an obvious Springsteen reference thematically, even if it’s sonically more like Elton John. And “The Night Josh Tillman Came To Our Apartment” sounds like something the Beach Boys might have recorded, if the Beach Boys were douchebags.But this excellent album is far more than the average of its influences. It has a spark and a lacerating humor all its own; it’s funny and real and catchy and great, and I can’t stop listening to it, obsessing over it, going online to double-check lyrics, etc. One standout’s the aforementioned “The Night Josh Tillman Came To Our Apartment.” One online commenter called it the best put-down song since Bob Dylan’s “Positively 4th Street,” and that’s probably not far off the mark. Beneath the sugar-coated Beach Boy musical gloss, the snideness of the actual lyrics can be off-putting—I literally sometimes think the only thing that truly unites hipsters is their disdain for people who misuse the word “literally.” But it’s also one of those things you end up singing to yourself with gusto when nobody’s around, or even when they are. (Over the weekend, my wife and I were walking down the street when I caught myself singing: “She blames her excess on my influence but gladly hoovers all my drugs.”) And it ends memorably, with a devastatingly funny putdown that would feel misogynistic if it wasn’t also an indictment of the narrator himself, for sleeping with someone he can’t stand to be in the same room with.“Bored in the U.S.A.” is probably the grand statement, its big attempt at Springsteenian capital-M Message. Other bands like The National have attempted something similar, trading blue-collar blues for white-collar woes, and here Tillman takes his shot at the title. “How many people rise and say, ‘I’m so glad to be here for another mindless day?’” he asks. “How many people rise and think, ‘Oh good, the stranger’s body’s still here, our arrangement hasn’t changed.’” And he goes on to chronicle the standard Great Recession white man’s blues: “They gave me a useless education, a sub-prime loan, a Craftsman home.” It seems he can’t quite decide between condescension and empathy, and this strikes at the dichotomy at the heart of hipsterism: are you singing along with the common people because you love them, because you can’t do anything else with your liberal arts degree, or because you’re taking notes so you can talk about them more effectively later on? Is a shirt with three wolves objectively cool, or cool by the standards of things that get airbrushed on the side of a van, or just ironic—or can you tell anymore?But again, Tillman at least has the good sense to talk down to himself, too—and more importantly, to find something new, to bottle and sell the zeitgeist in a new formulation that you haven’t quite seen yet. “I haven’t hated all the same things as somebody else since I remember,” he sings on “Chateau Lobby #4 (in C for Two Virgins).” It’s a perfect line, simple and funny, and in this day and age, it sounds like an expression of eternal fidelity; bonding over shared hate is the hipster equivalent of love. More importantly, it gets the job done without seeming to really work at it. Similarly, the album’s high point isn’t the sometimes trying-too-hard “Bored in the USA” but the track right before, the effortlessly awesome “The Ideal Husband,” a scathing self-flagellation where Tillman takes himself to task for drinking and drugging and late-night sentimentality, wailing over a driving guitar track: “I came by at seven in the morning, said baby, I’m finally succumbing, said something dumb like I’m tired of running. Let’s put a baby in the oven. Wouldn’t I make the ideal husband?” It’s the perfect soundtrack for a generation where every guy loves being an uncle but is petrified of being a dad. And as an encapsulation of the times, the album’s right up there with The Graduate or The Big Chill. It’s no mean feat for an artist to talk smack about himself, and us, and somehow still get us to sing along.On one hand, I hope there’s still a lot more to come from Father John Misty; on the other, I can’t help but wonder if I’ll be longing for this again and again. It’s rollicking and fun, except perhaps near the end, where it turns stately and still great. The hipster wave may be cresting—you may be hearing it peak right here on this album, in the break between tracks 8 and 9—but it’s still far from spent.

### ⭐⭐⭐⭐⭐ 5.0 out of 5 stars







  
  
    Lyrical Brilliance
  

*by D***D on Reviewed in the United States on April 19, 2015*

I loved the previous Father John Misty album, "Fear Fun", and was initially disappointed with this new batch of songs. They didn't seem to have that same captivating quality to them. At least not initially. But after a few dozen listens, I'm won over once again. Great album!The songs may not have as many hooks as the ones on "Fear Fun" but the playful lyrics more than make over any ever-so-slight slack in the melodies. I haven't heard a singer-songwriter display such wit, wisdom, sarcasm, and sauciness since the glory days of Randy Newman. Honesty, Father John Misty, aka Josh Tillman, deserves to be recognized as one of the best songwriters around nowadays. His lyrical brilliance and melodic tunes are an addictive combination.This new album was produced by rising star Jonathan Wilson, who also sings and plays on many of the songs. The CD comes with a fold-out poster that has all the lyrics to the songs. The poster design is a bit cumbersome --- I would have preferred a "normal" booklet --- but at least you get something extra for your money. Speaking of which, there actually is a small booklet of sorts this is included with the CD, dubbed "Exercises for Listening." These "exercises", it turns out, are very funny tips from Mr. Tillman on how the listener can better appreciate certain songs on the album. For "I Went to the Store One Day," for example, he suggests:Go to a store you darkly shuffle through for cigarettes and glass bottles of water everydayLay down in one of the aislesWait for someone to pick you upI'm not sure I'm willing to try that one, but for a musical "pick up" this CD is a winner from start to finish!

### ⭐⭐⭐⭐ 4.0 out of 5 stars







  
  
    Not Fear/Fun but a worthy follow-up.
  

*by M***S on Reviewed in the United States on February 17, 2015*

Fear Fun is one of my favorite releases of recent vintage, upon first listen(s) Ididn't think Honeybear...was up to that brilliance. After getting used to the differencesI find this album to be great--for the most part. For me the first three songs arethe weakest, not bad but a bit too personal perhaps, but for the second half ofthe album there is some real brilliance here, Jonathan Wilson's productionand playing stand out (maybe not quite as dynamically as on FF). A few songs aremasterful--Nothing Good Ever Happens...., The Ideal Husband, and Bored In The USAare all top shelf--the laugh track on Bored...is at once humorous and scary but makethe song a standout in this or any album.A crooner for the 21st century FJM is one of the best writers working let's hope hecontinues the great writing and keeps JW as a producer/sideman. 4&1/2 *s

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*Product available on Desertcart Mexico*
*Store origin: MX*
*Last updated: 2026-03-09*