Father John Misty is a man of many talents and interests — a characteristic exemplified by his eclectic approach to musicianship. As a dedicated fan of Misty, I take much enjoyment in the knowledge that I never know exactly what to expect from him in terms of sound. I can only take solace in the additional knowledge that whatever he produces is going to sound amazing, whisking me away into the winds of his musical whimsy.

With the mystery that he is, Misty has decided to start 2017 off with the progressive release of songs that will make up his upcoming album, Pure Comedy. Each new release bares the same mystical cover: an intricate black and white drawing of a variety of alien-type creatures partaking in a slew of different activities against the backdrop of a similar black and white mountainscape. This drawing is then placed over a simple watercolor painting of a starry sky, with the contrast between the navy and violet hues of such a sky and the starkly black, white, and grey colors of the offbeat cartoon of sorts creating the mesmerizing feel that Misty is known for.

Three songs have been released thus far: “Pure Comedy,” “Two Wildly Different Perspectives,” and “Ballad of the Dying Man.” While all three have their own unique intricacies in terms of sound and lyricism, they all possess the same nearly ethereal quality about them. “Pure Comedy” starts with a mixture of trumpet noises and the sound of a phone call. It then takes on an almost ballad quality, with Misty’s slow singing and deep piano playing evoking an emotional response from all who listen to it. Furthermore, Misty’s threading of stories of adventure and biblical references into complex moral questions through vivid descriptions allows listeners to feel that they are experiencing every interaction and struggle for themselves.

Transitioning into an even more ethereal approach to sound, Misty’s “Two Wildly Different Perspectives” evokes a simultaneous sense of calm and intrigue from listeners, using soft notes, cymbals, wind chimes, a synthesizer, and a piano to create a full-sensory psychedelic experience. The song itself is short (only 3 minutes and 13 seconds) — a departure from the usually sizable length of songs. However, listeners are too lost in the daze that the song places them in to pay attention to the time they’ve actually spent listening. Additionally, the song ends on an abrupt note (literally and figuratively), with the interruption of such a dreamy experience only leaving listeners wanting to hear more.

Finally, Misty’s “Ballad of the Dying Man” follows the suit of the previous two songs in its melancholic, yet also uplifting sound. This track is the most simple of the three, relying predominately on Misty’s vocals and piano playing. It lives up to its name as a ballad with the usage of backing vocals (presumably done by Misty himself), as well as lyrics that speak of a dying man’s recollection of his role in the world, and his quandary over who will take over his work after he is gone. The internal struggle of the man in regards to his position in the world as well as the song’s commentary on social flaws of the modern era serve to craft a deeply personal experience for audiences, who feel the song gives them a profound emotional understanding of (and consequential empathy for) the man.

As a whole, each song utilizes a combination of traditional and abstract lyrics and musical accompaniments to craft a deeply personal experience for listeners, with the painful yet also uplifting journey of the songs paralleling the emotional complexity of life itself. Yet again, Misty has stunned his listeners with a work that is somehow unlike nothing they have ever heard before and yet also so quintessentially him. All I can say is, bring on the rest of the album.