Posts Tagged ‘Courtney Barnett’

Sharon Van Etten’s career since the release of her second album, 2010’s epic is well-known; critically lauded albums, films, and television shows have continually displayed her expanding artistry. Upon its release, epic laid a romantic melancholy over the gravel and dirt of heartbreak without one honest thought or feeling spared. Her songs covered betrayal, obsession, egotism, and all the other emotions we dislike in others and recognize in ourselves. Van Etten’s grounded and clenched vocals conveyed a sense of hope–the notion that beauty can arise from the worst of circumstances.

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The resulting epic Ten is a double LP featuring the original album plus the new album of epic covers and reimagined artwork.

Epic” laid a romantic melancholy over the gravel and dirt of heartbreak without one honest thought or feeling spared. Her songs covered betrayal, obsession, egotism, and all the other emotions we dislike in others and recognize in ourselves. To celebrate the 10th anniversary of this special album’s release, and to acknowledge the convergence of Van Etten’s present and past work, she asked fellow artists she admired to participate in an expanded reissue, where each artist would cover one different song from epic in their own style.

Released April 16th, 2021

Fiona Apple

The music of Sharon Van Etten offers this strangely familiar ethic and aesthetic. She is Patti Smith finishing a pint of Pilsner as the pool cue cracks in the back of the dive bar. 

Van Etten’s newest release, “Epic Ten”, is unlike any other. In one sense, it’s a reissue of her 2010 sophomore record, Epic. But it’s also much more. The reissue includes covers of each song from the original release from such heavyweights as IDLESLucinda WilliamsCourtney Barnett, and Fiona Apple. In this way, “Epic Ten” is two albums at once in a compact 14 tracks, ranging in creative impact from Van Etten’s ghostly harmonies to IDLES’ industrial wallop. 

The record begins with the acoustic-propelled “A Crime.” The lyrics, saturated with anger and remorse, are also breathy, dreamy. But through the sonic lens of Aaron Dessner and Bon Iver’s Big Red Machine, the song is more electric, like a Radiohead song played through a spotty AM radio connection in a beautiful contrast. “Peace Signs” harkens to ’90s rock ‘n’ roll, part Smashing Pumpkins, part Melissa Etheridge. All the while the kick drum bangs. When IDLES take hold on the record’s flip side, that kick portends guttural screams, an explosion. 

On “Save Yourself,” Van Etten sings over slide guitars. There’s a new eeriness to her voice now—she’s the last person in the Dust Bowl, and she has one last song to sing. Lucinda Williams understands this mood, she was once that person, too. And her rendition is elongated, patient, dark. By “Dsharpg,” Van Etten has become the breeze through cracked slats in the attic. She is the sound of one’s own personal church. Shamir laser focuses this vibe and offers a neon blue candle to pray to on his cover.

Mid-album track “Don’t Do It” is reflective. It’s a gritty electric guitar with an angel moaning in the distance. Van Etten is low-eyed, fed up at the heft while also acknowledging there are better days ahead. It’s bad, but not all bad. When sung by Courtney Barnett and Vagabon, the song is up front, close, in your ear. It’s as if Barnett doesn’t feel the song itself is enough at this point. 

On the album’s penultimate track, “One Day,” Van Etten seems to be remembering the important days now in her rearview mirror. It’s a song she might sing in the tour van, the rest of the band strumming guitars, playing tambourines as the highway stretches past. St. Panther takes the song in the direction of bedroom pop, made with a laptop and the buzz from caffeine at three in the morning.

“Love More” has a solid perspective—it’s the song of someone who’s accepted adulthood and the very personal ups and downs that inevitably come along with that. Friends leave, loved ones pass, but the strength to sing can still grow stronger. Though life is dangerous and dramatic, there is hope, if only borne from your own voice. Perhaps no one knows that better than Fiona Apple. For the one who told us to “fetch the bolt cutters,” fame has been painful. Growth out of that is the only medicine, escape. 

Sharon Van Etten’s “Epic Ten” anniversary reissue arrives on digital platforms tomorrow, and now she’s shared the final advance single: a cover of “Love More” by recent Grammy winner Fiona Apple.

The double-disc “Epic” reissue has already spawned several thrilling updates to old songs: Big Red Machine’s “A Crime”, IDLES’ “Peace Signs”, Shamir’s “Dsharpg”, and Courtney Barnett and Vagabon’s “Don’t Do It”. “Love More” is the closing track to both Epic and Epic Ten, and Fiona Apple puts her mark on the song right from the beginning with newly-added claps and hand drums. Where the original derived its atmospheric power from pulsing synths and the sparing use of percussion, Apple’s take comes with gentle pianos and insistent heartbeat drums.

In a statement, Van Etten wrote about the darkness that inspired “Love More”, and how Apple’s version reframes the song with “the hope it deserves.” She said,

“The emotional rawness and visceral angst and honesty of Fiona Apple’s music was first met by my teenage years, sharing a bedroom with my little sister — who so patiently studied for school as I tried to write, sing, and play guitar in a way I wasn’t ready for yet. Fiona made me want to be a better player. She made me want to have something to say. Although music has always been an important outlet for me, I knew I hadn’t lived like she had. Having no concept of age, I heard her voice as experienced and wise and someone that I wanted to be or to know. I carried her with me.⁣⁣

“The closest we came to meeting was when we played SXSW at Stubbs back to back in 2012 and I teenagerly posed in front of her road case. I dared not overstep the line of comfort at a festival… but her set was incredible. New, and true to herself and vulnerable…⁣⁣
⁣“Love More is the most revealing song about one of the hardest times in my life, and the mark of change. When I admitted I needed help. When I leaned on others and acknowledged my weaknesses, when I was accepted at my lowest of lows, with support, and was able to move on. I was in a dark place when I wrote this song, I was in a safer space when I was able to record it, and now that Fiona’s version will exist in this universe, it helps me feel even farther away from the darkness I had to experience in order to write this song. She brings it life and light. She has given me her hand after all these years… and it is with pure joy to finally share this song in a brand new light by someone I always wished I could be.⁣⁣

“Thank you, Fiona. I admire you so much and now I wish for everyone to hear this song with the hope it deserves. It is so nice to meet you. Xoxo”

In total, Van Etten’s reissue of Epic Ten is a success. She’s achieved the relighting of her past release while doing so with a fresh torch. With hope, the album will burn long and in many hearts.

You can listen to “Love More” below. Epic Ten makes its digital debut tomorrow, April 16th, with physical versions arriving June 11th via Ba Da Bing Records. Besides that, Van Etten will stream an Epic Ten documentary and full-album concert on April 16th and 17th, with a portion of proceeds benefiting the Los Angeles venue Zebulon.

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Sharon Van Etten‘s sophomore album “epic” turned ten years old last September and to celebrate, the veteran singer-songwriter will release a deluxe version of the album,epic Ten”. The two-disc collection features the original album on one CD and a collection of covers on the other. Featured artists on the covers disc include Fiona AppleCourtney Barnett and VagabonLucinda WilliamsBig Red Machine (Aaron Dessner and Justin Vernon), ShamirIDLES, and St. Panther.

On Wednesday, Sharon Van Etten shared Courtney Barnett and Vagabon’s take on “Don’t Do It”.

This marks the latest collaboration for Barnett and Vagabon, who released a collaborative cover of Tim Hardin‘s folk standard, “Reason To Believe”, back in January. Prior to that, the two had shared the stage—also for a performance of “Reason To Believe”—at the Palace Theatre in Los Angeles on February 14th, 2020. That concert, billed as Courtney Barnett & Friends, served as a benefit for Newport Festivals Foundationand also saw appearances from LuciusSharon Van Etten, Father John MistyWaxahatchee, and more.

Barnett and Vagabon’s take on Etten’s “Don’t Do It” sees an amalgamation of all three artist’s unique styles. Etten’s lyrics present the guidepost for Barnett’s grungy, deadpan delivery that is only bolstered by Vagabon’s delicate, if reserved, backing vocals.

Etten said of Barnett,

Courtney Barnett has been an important musical influence on me since 2014, when we first met at The Neptune theater in Seattle. From the first time we met, I felt like I made an immediate friend. From performing together, to having home hangs in between tours, commiserating with the very specific mixed feelings of tour life assimilating back to home life and figuring out the in between as we have been learning how to nurture our domestic lives while paying attention to our creative selves outside of the album and touring cycle. I admire Courtney’s writing style in that she has such a unique and intimate narrative approach while being personal and funny, without giving too much away. I feel connected to her music and perspective, while always wanting to learn more – and as a friend she has offered me guidance and advice while also being an ear when I have been in a rut or when I am in need of a new approach to look at my writing in a new way.⁣

“Don’t Do It” (By Courtney Barnett Feat. Vagabon) on Ba Da Bing!

After a year full of strange collaborations, 2021 started off with a joint track that’s more exciting than surprising, and certainly not nearly as weird recent tourmates Vagabon and Courtney Barnett are sharing a collaborative cover of Karen Dalton’s home-recorded track “Reason To Believe” which is itself a cover of a folky Tim Hardin song later also performed by The Carpenters, Rod Stewart, Neil Young, Cher, and plenty of others.

“I recently discovered the Karen Dalton version of ‘Reason to Believe’ for the first time,” Vagabon’s Laetitia Tamko noted in a press release. “I became obsessed and so a few days after discovering it, I was encouraged to record a cover of it in my garage. The decision to have Courtney sing it with me came after we performed it together live at the Palace Theatre in Los Angeles on Valentine’s Day 2020.

“I’m a huge fan of Vagabon and Karen Dalton so this was a dream,” Barnett added. “They both have a voice that absolutely knocks the wind out of me. I really admire Laetitia and am constantly inspired by her song writing, production, and our sporadic FaceTime chats.”

Vagabon performs Tim Hardin’s “Reason to Believe” featuring Courtney Barnett:

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On October 22nd 2019 Courtney Barnett performed a unique and special show at the invitation of MTV in her hometown of Melbourne. The “Unplugged” performance features Barnett as you’ve never heard her before, warm, vulnerable and emotional, performing a stirring set of eight songs to an intimate audience including “Depreston”, “Avant Gardner” and “Sunday Roast”.

Joined by her usual band Dave Mudie and Bones Sloane, she also enlisted cellist Lucy Waldron. Barnett made the night even more iconic by inviting some of her favourite musicians to collaborate including legendary songwriter Paul Kelly, angelically-voiced New Zealander Marlon Williams and Milk! Records label-mate Evelyn Ida Morris.

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The performances include covers of Leonard Cohen, Archie Roach and Seeker Lover Keeper as well as a never-before-heard original track from Courtney herself titled Play It On Repeat</strong

Released December 6th, 2019
The Band:
Courtney Barnett – guitar & vocals
Dave Mudie – drums & backing vocals
Bones Sloane – bass & backing vocals
Lucy Waldron – cello & backing vocals

w/ special guests
Paul Kelly – guitar, harmonica, vocals (Charcoal Lane)
Marlon Williams – guitar & vocals (Not Only I)
Evelyn Ida Morris – piano & vocals (Nameless, Faceless)
and piano (Avant Gardener)

All songs written by Courtney Barnett except
Charcoal Lane written by Archie Roach
Not Only I written by Sally Seltmann, Sarah Blasko & Holly Throsby (Seeker Lover Keeper)
So Long, Marianne written by Leonard Cohen

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Anna Calvi has recruited Courtney Barnett for a new version of “Don’t Beat The Girl Out Of My Boy”, which will feature on “Hunted” – a reworked version of Calvi’s 2018 album Hunter.

Hunted will also see Calvi team up with Joe Talbot of IDLES, Charlotte Gainsbourg, and Julia Holter for new versions of Calvi’s Hunter tracks.

Speaking about Hunted and working with Barnett, Calvi explains, “During a break from touring I went back and listened to the first recordings I ever made of Hunter. These recordings capture the very moment I first wrote these songs, and recorded them on my own, in my attic studio. I find something especially intimate about sharing these most private recordings with my favourite singers and asking them to lend their voices and artistic sensibility. Courtney Barnett is an amazing artist. Her voice and guitar playing together are mind blowing. Her ability to connect the profound to the smallest moments of human experience is the unique talent of a true artist.”

Barnett adds of the collaboration, “Anna is a completely awe-inspiring performer, it’s impossible to take your eyes off her onstage. I love her songwriting for its beautiful and perfect balance between aggression and tenderness.”

The first single to be released from Hunted is Calvi’s new version of “Don’t Beat The Girl Out Of My Boy”, featuring Courtney Barnett.

On Friday a new Milk! Records compilation called “Milk On Milk”. It features my version of “Keep On” (written by my friends Loose Tooth) n playing with me on that recording is Jen Sholakis (drums), Dave Mudie (bass) and some extra vocals by Anika (Hachiku).

This is the third compilation we have made as a label (the first two featured my tracks ‘Pickles From The Jar’ and ‘Three Packs A Day’). Barnett and Jen Cloher asked every artist to pick their favourite song by a label-mate and record their own version of it.

It includes some truly amazing tracks from Tiny Ruins, Jade Imagine, Jen Cloher (ft. The Letter String Quartet), Hachiku, Evelyn Ida Morris, East Brunswick All Girls Choir, The Finks, and Loose Tooth. It was (mostly) produced, engineered & mixed by Anna Laverty at (mostly) Audrey Studios in Coburg!

 

Courtney Barnett photo by Ian Laidlaw

hey how are you? Courtney Barnett here, i have a new song out today called ‘Everybody Here Hates You’. I started writing it in May 2017 at my freezing cold warehouse on an out-of-tune and unplugged Fender Stratocaster with rusty strings. It was from the paranoid pile of Tell Me How You Really Feel but the lyrics didn’t get finished in time to make the album. to be honest the words felt too vulnerable n I didn’t want anybody to hear them. When I finally found the chorus, I decided to record it with my band in September 2018. Bones Sloane played bass, Dave Mudie played drums, Dan Luscombe lay on the carpet and played the organ. They all sung wonderful backing vocals.

it’s available now in all the usual places, hope you like it and thank you for your support, love ya xo

ps. everybody here does not hate you. please reach out to somebody you trust or google your nearest mental health support lifeline if you need to talk to someone x

Barnett says she was inspired, in part, by the Jeff Buckley song “Everybody Here Wants You.”

Courtney Barnett: guitar, vocals
Bones Sloane: bass, vocals
Dave Mudie: drum, vocals
Dan Luscombe: keys, vocals

Courtney Barnett started Milk! Records in 2012 to release her first EP I’ve Got A Friend Called Emily Ferris. Soon aftercame the second EP How To Carve A Carrot Into A Rose. She took her band overseas with a condensed back catalogue called The Double EP: A Sea Of Split Peas. In 2015 Barnett released album Sometimes I Sit And Think, And Sometimes I Just Sit to worldwide critical acclaim. 

“Small Talk,” is an outtake from Courtney Barnett’s 2018 album Tell Me How You Really Feel sounds a lot like most songs on the LP: an expansive, vamp-based affair with sunny choruses. Barnett’s hook-writing has only gotten sharper as time goes on. Where her early work would have been satisfied to let the interlocking organ/bass line groove ride for the entire runtime, here she injects an immediately felt, warmly rendered chorus of group singalongs. Her lyrics are, as always, sharp as a tack.

She takes the title seriously, regaling us with the shaggiest of shaggy-dog stories about whatever seems to float into her mind. “I’ve got a brother, Blake / he’s four years older than me / and I guess he always will be,” she sings, somehow managing to be both hilarious and weirdly philosophical. If she never got into business as a musician, Barnett could roundly kick all of our asses at this writing thing.

‘Charity’ is taken from Courtney Barnett’s album ‘Tell Me How You Really Feel’

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Released May 18th, 2018

Courtney Barnett – Guitar, Vocals
Bones Sloane – Bass, Backing Vocals
Dave Mudie – Drums, Percussion
Dan Luscombe – Keys, Organ, Guitar, Backing Vocals
Kim Deal – Backing Vocals (Tracks 5 and 7), Guitar (Track 7)
Kelley Deal – Backing Vocals (Track 7)

All songs written by Courtney Barnett

Kurt Vile kicks back in the Catskills before the release of his seventh solo album, 'Bottle It In.'

Kurt Vile an American singer, songwriter, multi-instrumentalist and record producer. He is known for his solo work and as the former lead guitarist of the rock band The War on Drugs, both in the studio and during live performances, Vile is now accompanied by his backing band, The Violators, which currently includes Jesse Trbovich (bass, guitar, saxophone), Rob Laakso (guitar, bass) and Kyle Spence (drums).

Influenced by bands like Pavement, Neil Young, Tom Petty, and John Fahey.  Kurt Vile began his musical career creating lo-fi home recordings with frequent collaborator Adam Granduciel in Philadelphia, with whom he has participated in early work by The War on Drugs as well as various solo projects. Focusing on his solo career, Vile released two albums, “Constant Hitmaker” (2008) and “God Is Saying This to You..”. (2009), compiling various home recordings dating back to 2003. Vile signed to Matador Records in 2009, and released his third album, “Childish Prodigy”, that same year. The album was his first recorded in a studio and with the full participation of The Violators.  “I’ve always been prolific,” he says. “It just took me until I was 29 for someone to actually put my music out.”

In 2011, Vile released his fourth studio album, Smoke Ring for My Halo, which significantly increased his exposure. His fifth studio album, Wakin on a Pretty Daze, was released in 2013, with Laakso replacing Granduciel in his backing band. In 2015, Vile released his sixth studio album, b’lieve I’m goin down…. The lead single from the album was, “Pretty Pimpin”Vile’s best performing song to date,  His project in 2017 saw him release “Lotta Sea Lice”, a collaboration with Australian singer and guitarist songwriter Courtney Barnett.

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The War on Drugs (2003–2008)

In 2003, after staying in “Boston” for two years, Vile moved back to Philadelphia and began collaborating with musician and songwriter Adam Granduciel The duo subsequently formed the Indie rock band “The War on Drugs  in 2005. Regarding his friendship with Granduciel, Vile noted, “We’re essentially best friends. He was backing me up in my band when he started working on his own music, so I thought I’d return the favor.” Granduciel and Vile released their debut studio album, “Wagonwheel Blues” in 2008 and embarked on a tour in support of its release.

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Constant Hitmaker (2008)

At this time, Vile’s debut solo album,“Constant Hitmaker” (2008), released on “Gulcher Records” Vile subsequently decided to leave The War on Drugs to concentrate on his solo career. The album was compiled from various home recordings and one studio recording of the song “Freeway”. In 2009, Vile noted, The War On Drugs got put out on a bigger label first, so, in the some claim that The War on Drugs was my first, main band. But that’s just the way it looks. I’ve made more music than Adam has, and have been doing my Kurt Vile thing for a little bit longer. And Constant Hitmaker came out around that same time. Right when that [War on Drugs] record came out, I went to Europe with them, and also opened as Kurt Vile. That was right when I decided I wanted to concentrate on doing my own thing. Despite Vile’s departure, Granduciel remained a member of his backing band, The Violators, with Granduciel noting, “There was never, despite what lazy journalists have assumed, any sort of falling out, or resentment.

Constant Hitmaker the debut studio album by American musician“Kurt Vile” released in 2008 on Gulcher Records”  and Woodsist. Self-produced, and recorded between 2003 and 2007, the album is primarily composed of lo-fi home recordings that Vile had previously issued on “CD-R”

Following the album’s release, Vile stated that Constant Hitmaker is “like a Best-of, sort of, but leaning toward the “Psychedelic pop”stuff, kind of my later material.”

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God Is Saying This to You. (2009)

In April 2009, Mexican Summer released “God Is Saying This to You..”.; a collection of Vile’s home recordings dating back to 2003 on vinyl only. Upon its release, Vile had already recorded a studio album, Childish Prodigy, which Vile described as “definitely not as lo-fi” as his previous releases, After shopping the record to various labels, Vile signed with Matador Records in May 2009. Vile noted, “It’s a perfect fit. They were my number one choice. I don’t really consider my music indie rock or think that Matador cater only to indie rock, but I still feel I can relate most to Matador, more than any other label. Not to mention the fact that they are way on top of their shit.”

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Childish Prodigy (2009)

Recorded with backing band The Violators, “Childish Prodigy” was released on October 6th, 2009, and increased Vile’s exposure significantly. Support slots with Dinosaur Jr, Thurston Moore and Fucked Up followed the album’s release. Regarding his new position, Vile stated, “Obviously there’s more touring, more press and more hype which I won’t say is not deserved. There’s like a faction of people, too, who like to talk shit, which is kind of new. When I was more independent, there were people who got really excited and there still are but once I got more press people started to comment on blogs. People like to talk shit. […] It’s like climbing a ladder. I like to climb it really slowly. I could probably get really professional right away, but I like to take baby steps and find my own way.”

Philadelphia guitarist / vocalist Kurt Vile first came to music enthusiasts’ attention with the release of 2008’s ‘Constant Hitmaker’ on the gulcher imprint. the homemade hitmaker (also reissued on vinyl through woodsist) was a psych pop gem. his debut Matador album, ‘Childish Prodigy’ ups the fidelity only a little. this absorbing, addictive and richly detailed album covers an immense amount of ground compared to its predecessor, from the pounding stomp of ‘Hunchback’ and the hypnotic beat of ‘Freak Train’ to the unexpected, soaring trumpet in ‘Amplifier.’

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Smoke Ring For My Halo (2011)

Vile released his fourth studio album, “Smoke Ring for My Halo”, in 2011. The album peaked midway in the charts and was placed highly on many end-of-year lists, and in 2013 it was named at number 475 in NME’s ‘500 Greatest Albums of All Time’  Later in 2011, Vile released a companion EP, So Outta Reach, and appeared on his former band The War on Drugs‘ second studio album, Slave Ambient. Shortly after the release of Smoke Ring for My Halo, longtime Violators guitarist Adam Granduciel departed from the band to fully focus on The War on Drugs, with Vile noting, “Adam, he plays in The War on Drugs, his record came out a little after mine did, so at first he toured, and now he’s obviously busy with that and now he’s working on his new record.

The deluxe double cd version of ‘Smoke Ring for My Halo’ comes with a new colour cover. the deluxe cd includes the ‘So Outta Reach’ ep on a second disc. the ep contains 5 original songs initially recorded during the sessions for ‘Smoke Ring for My Halo’ album but not used , which were reworked with producer John Agnello this summer. in addition, the ep contains a cover of Springsteen’s ‘Downbound Train.’ the Philadelphia singer / songwriter  returns with his second proper album (2008’s ‘Childish Prodigy’ was a compendium of sorts). It’s a gorgeously layered record. ranging from the tender breezy folk in ‘Jesus Fever’ to the tuff urban guitar riff of ‘Puppet to the Man’ Vile’s distinctive philly-accented vocal ties together a sweeping and evocative project – a true american psychedelic folk album. this is no pastoral listening experience however – when Vile sings, ‘society is my friend: he makes me lie down in a cool bloodbath’ he sounds both exhausted and distanced from the ringing harmonics of his guitar and Mike Zanghi’s pounding drums. even the gentler songs, such as ‘On Tour’ and ‘Baby’s Arms’ have a distinctly dark lyrical tone. the closest that Vile gets to some kind of acceptance is in the central track, the rueful ‘in my time’ “i know when we get older, i’m dying, but i got everything i need here now, and that’s fine, now… that’s fine. recorded at the Magic Shop , the album is a massive step forward for one of the country’s most beloved (not least by other musicians) rock songwriters.

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Wakin On A Pretty Daze (2013)

“Wakin on a Pretty Daze” was released on April 9th, 2013. Regarding the current line-up of his backing band, Vile noted, “I’m playing with Jesse [Trbovich] and Rob [Laakso]. […] Rob Laakso is the newest member and Jesse has been a member forever. They’re steady members. Our drummer is no longer with us, but other than that, different friends played drums on the record and we’re doing rehearsals with that right now. But other than that, the Violators are me, Jesse, and Rob and we’ll see how it evolves.” Priestess drummer Vince Nudo subsequently joined the band on drums and percussion, after performing on two of Wakin on a Pretty Dazes tracks.

Steve Gunn joined the band as an “auxiliary Violator“, during the band’s May 2013 tour dates, with Vile noting, “It’s impossible to just talk about Steve. He’s too good! He’s so good; just listen to him. What can I even say about him that touches that? I just want to listen to him.”

On September 24th, 2013, Vile announced the release of a new EP, “It’s a Big World Out There (And I Am Scared)”, and also a deluxe edition of “Wakin on a Pretty Daze”.

Kurt Vile is slowly, quietly becoming one of the great American guitarists and songwriters, of our time. This 69-minute double album is comprised of sweeping, expansive songs that are both very intimate and conversational. Wakin On A Pretty Daze is a timeless record that would have sounded great 30 years ago, sounds great today, and will still sound great in another 30 years’ from now. Beautifully produced by John Agnello, the record is filled with hazy, swooning guitar lines and dreamy, beatific, and occasionally sardonic vocals. It is summed up by the staggeringly gorgeous 9-minute opener, Wakin On A Pretty Day. The record has other connections to Kurt’s home town. Steve Powers (ESPO), the renowned Philly street artist, painted the cover mural on an abandoned building near the Northern Liberties. The album is being announced via a mini-doc of Powers creating the mural with Kurt’s commentary, and the two of them talking about Philadelphian music and visual arts. The mural will be re-created in London, Los Angeles and New York. First edition CD housed in a mini-gatefold like the LP cover,

Kurt Vile | Steve Gunn (Released July 14th 2017)

Kurt Vile and Steve Gunn collaborated for their contributions to Three Lobed Recording’s Parallelogram series. The two artists, originally connected by mutual friends and geographic proximity, have long pushed the other’s continued artistic development. Despite sharing many live stages over the years, this installation of Parallelogram represents the first time that the two have worked together in the studio. Vile’s side sees him recast tracks by John Prine (“Way Back When”) and Randy Newman (“Pretty Boys,” featuring some truly electric guitar flourishes from Gunn) as if they were KV originals. The theme of reinvention continues with Vile tearing through a solo banjo rendition of his “Red Apples” (originally from his “God Is Saying This To You…” LP), retitled here as “Red Apples For Tom Scharpling.” Gunn takes on a late period Nico track, “60/40,” and pulls a lysergic rocker out of the track’s goth-ish roots. The bulk of Gunn’s contribution is the epically winding “Spring Garden,” a track in the vein of some of his other long-form guitar excursions. Featuring signature contributions from Vile and Mary Lattimore, this hypnotizing cut is unmistakably a new classic in Gunn’s catalog.

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b’lieve i’m goin down… (2015–2017)

On March 6th, 2015, Vile announced that he was working on his sixth studio album, with recording taking place across different locations in the United States. “b’lieve i’m goin down..”. was released September 25th, 2015, on Matador Records. Vile has described it as “All over the place. Everything you can imagine I’ve done… That’s where I’m at now, that I can sort of tap into every world and make it cohesive.

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Whole Lotta Sea Lice with Courtney Barnett

The new album’s writing and recording stretched out over many months, during which time he also made another full-length LP with his friend Courtney Barnett (2017’s delightful Whole Lotta Sea Lice) and attempted to finish a film score he’s since abandoned. About a year ago, feeling overwhelmed by all the demands on his time, Vile delayed the release of Bottle It In from spring 2018 to October 12th. If he hadn’t, he says, “I was prepared to have a serious breakdown. Pretty normal.”

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Bottle It In  (2018)

On Bottle It In, Vile does his best to come back to earth. If his last solo record was a dark, lonely night of the soul, this one feels more like a friendly jam session with his longtime backing band, the Violators (multi-instrumentalists Rob Laakso and Jesse Trbovich, plus drummer Kyle Spence). Beneath the easygoing charm of its surface, though, Bottle It In is an album with serious ambitions. On highlights like “One Trick Ponies” and “Loading Zones,” he sounds like he’s simultaneously swinging for another modern-rock hit and searching for an inner peace that’s just beyond his grasp. Among the songs Vile recorded with Everett is Bottle It In‘s nine-minute-plus centerpiece, “Bassackwards,” a slow-burn psychedelic dream with an undercurrent of dread. In part, he tells me, it’s a song about his fears for the future in a time of global warming and skyrocketing hate. “The world is backwards as fuck right now,” he says.

Vile is also featured on the song “Let Me Get There” and Hope Sandoval & The Warm Inventions” released in 2016.

Vile sings lead vocals on The Sadies song “It’s Easy (Like Walking)” on their 2017 album Northern Passages.

In 2017, Vile and Courtney Barnett recorded the collaborative album “Lotta Sea Lice” , released on October 13th. The lead single “Over Everything” was released on August 30th, 2017 accompanied by the music video directed by Danny Cohen.

In 2018, Vile announced his seventh solo studio album, “Bottle It In”, due for release on October 12th, 2018.

Check out the these EP’s
The Hunchback
Square Shells
So Outta Reach
It’s a Big World Out There (And I Am Scared)


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