Posts Tagged ‘Kurt Vile’

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.

22072

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.

Constanthitmaker.jpg

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.”

Godissayingthistoyou.jpg

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.”

33870

 

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.’

56382

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.

71253

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.

96046

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.

Cbkv packshot fin%283000x3000%29

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.”

Image001

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)

Advertisements

Image result for images of vinyl records

The big records releases from Kurt Vile, John Grant, St Vincent and at last The Lucid Dream plus loads of fantastic reissues from Mute and Dark Entries (that Eric Random is amazing) and the next David Bowie box set. Among new artists with records you should be listening too goes to Anna St. Louis, I have to say that I hadn’t heard her before but when I saw the press release compare her to Loretta Lynn, Townes Van Zandt and John Fahey I had to give it a spin. It is sooooooo good. Easily eyeing up a top spot in our albums of the year list. Its one of those records that everyone asks who it is when you hear a song, each track gets better as it goes along until when the album finishes you have just got to stick it straight back on.
I love records that are a surprise and I think you will love it too.

Screen shot 2018 10 01 at 11.42.31

St. Vincent – Masseducation

A year on (to the week) from the release of the critically acclaimed Masseduction album, St. Vincent releases re-imagined piano versions of the album. Performed with Thomas Bartlett over two days in a studio in Midtown Manhattan, August 2017.

Image001

Kurt Vile – Bottle It In

Kurt Vile is back with his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around America over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips.

Every song, whether it’s a concise and catchy pop composition or a sprawling guitar epic, becomes a journey unto itself, taking unexpected detours, circuitous melodic avenues, or open-highway solos. If Vile has become something of a rock guitar god—a mantle he would dismiss out of humility but also out of a desire to keep getting better, to continue absorbing new music, new sounds, new ideas—it’s due to his precise, witty playing style, which turns every riff and rhythm into points on a map and takes the scenic route from one to the next.

Using past albums as points of departure, Bottle It In heads off in new directions, pushing at the edges of the map into unexplored territory: Here be monster jams. These songs show an artist who is still evolving and growing: a songwriter who, like his hero John Prine, can make you laugh and break your heart, often in the same line, as well as a vocalist who essentially rewrites those songs whenever he sings them in his wise, laconic jive-talkin’ drawl. He revels in the minutiae of the music— not simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on Hysteria, how Kim Gordon’s “acoustic guitar distortion” (her term) engulfs everything at the end of Mutinies, how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to Come Again.

Johng

John Grant  –  Love Is Magic

With his fourth solo album, Love Is Magic, Grant has continued evolving, creating his most electronic record yet.

In collaboration with Benge (Ben Edwards), analogue synth expert / collector and a member of electronic trio Wrangler, Grant’s collaborators earlier this year under the collective name of Creep Show on the album Mr Dynamite. Anyone familiar with Grant’s story will recognise his battles – with addiction and health, with trusting love and relationships. From this turbulence he’s forged another riveting collection of often brutal diatribes and confessionals, where humour, fear, anxiety and anger overlap as Grant, with trademark candour, figuratively exposes the machinations of his saturated brain. It’s epitomised by the album’s brilliant opener Metamorphosis, almost as if his warring psyches are facing up to one another, as impervious synth-pop and brain-on-fire imagery (“Tiki bar, rat soufflé, Buik regal, Marvin Gaye”) melts into dream-ballad introspection (“Questions left unanswered, spiritual extortion”) and back to synth-backed mania. The magic of love pervades in two gorgeous, magisterial ballads toward the end of the album,Is He Strange and The Common Snipe – referring to the wader bird that makes a unique ‘bleating’ sound by rubbing its tailfeathers together.

Screen shot 2018 07 19 at 12.38.49

David Bowie  –  Loving the Alien (1983 – 1988)

The box contains newly remastered versions of David’s most commercially successful period Let’s Dance, Tonight, Never Let Me Down (Original and 2018 Versions), the live album Glass Spider (Live Montreal ’87)’, the previously unreleasedSerious Moonlight live album, a collection of original remixes entitled Dance and the non-album / alternate version / b-sides and soundtrack music compilation Re:Call 4. The highlight of this latest box is the brand new production of the 1987 album Never Let Me Down by Bowie producer / engineer Mario McNulty with new instrumentation by Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), Tim Lefebvre (bass) as well as string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on Shining Star (Makin’ My Love). The seeds of this new reimagining of the albums were first sown in 2008 when David asked Mario McNulty to remix the track Time Will Crawl and record new drums by longtime Bowie drummer, Sterling Campbell along with strings. The track was issued on the iSelect compilation to much acclaim, and in the notes, for that record, David remarked ‘Oh, to redo the rest of that album’. The new re-workings have revealed Never Let Me Down as a very strong collection of songs with a dark thematic thread running through them. Fans listening to Never Let Me Down (2018)would be forgiven for thinking that they were listening to a brand new ‘lost’ Bowie record. Also in each box is the never before released Serious Moonlight live album recorded in Montreal in 1983. Originally mixed at the time by Bob Clearmountain, the double album captures Bowie on what at that time was his most successful tour. The artwork features shots taken by photographer Denis O’Regan. Exclusive to each box is Re:Call 4 and Dance. The former a new compilation featuring remastered contemporary single versions, non-album singles, album edits, b-sides and songs featured on soundtracks such as Labyrinth, Absolute Beginners and When The Wind Blows. Dance features 12 contemporaneous remixes some of which are appearing on CD and vinyl for the first time and is named after an unreleased Bowie remix album that was originally slated for release in November 1985. The box set’s accompanying 128 page book features rarely seen and previously unpublished photos by photographers including Denis O’Regan, Greg Gorman, Herb Ritts and many others as well as historical press reviews and technical notes about the albums from producers / engineers Nile Rodgers, Hugh Padgham, Mario McNulty and Justin Shirley-Smith.

11CD – The CD box set includes faithfully reproduced mini-vinyl versions of the original albums, and the CDs are gold coloured rather than the usual silver. Includes 128 Page hardback book. Let’s Dance (remastered) (1CD) Serious Moonlight (Live ’83) (previously unreleased) (2CD) Tonight (remastered) (1CD) Never Let Me Down (remastered) (1CD) Never Let Me Down 2018(previously unreleased) (1CD)* Glass Spider (Live Montreal ’87) (2CD) Dance (1CD)* Re:Call 4(non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (2CD)*

* Exclusive to Loving The Alien (1983-1988)

15LP – LP Box Set includes a 88 Page hardback book. Let’s Dance (remastered) (1LP) Serious Moonlight (Live ’83) (previously unreleased) (2LP)* Tonight(remastered) (1LP) Never Let Me Down (remastered) (1LP) Never Let Me Down (2018) (previously unreleased) (2LP – side 4 is etched)* Glass Spider (Live Montreal ’87) (previously unreleased on vinyl) (3LP)* Dance(2LP)* Re:Call 4 (non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (3LP)*

* Exclusive to Loving The Alien (1983-1988) LP box.

Primal scream give out but don't give up the original memphis recordings %28compressed%29

Primal Scream  –  Give Out But Don’t Give Up – The Original Memphis Recordings

In 1993 Primal Scream went to Memphis to make an album with Tom Dowd and the Muscle Shoals rhythm section, that album never saw the light of day, until now. Following the recent discovery of these tracks in a box lurking in Andrew Innes’ basement, Primal Scream release the original studio recordings from Memphis of the tracks that eventually became their 1994 album Give Out But Don’t Give Up. Teaming up with legendary producer Tom Dowd and the Muscle Shoals rhythm section of David Hood (bass) and Roger Hawkins (drums) at Ardent Studios in Memphis, the resulting recordings from those classic sessions showcase the more country soul, rock’n’roll side to a band who continue to surprise. It’s Primal Scream as you’ve never heard them before. Dowd’s deft production, coupled with the merging of this sublime rhythm section and one of the UK’s best ever bands, led to the creation of nine glorious tracks that run the gamut between blues, gospel and brilliant songwriting, available for the first time.

Elvis costello look now 768x768

Elvis Costello and The Imposters  –  Look Now

Costello returns with his first new collection of songs since his Wise Up Ghost collaboration with The Roots in 2013. It features The Imposters (bassist Davey Faragher along with original Attractions members, drummer Pete Thomas and keyboardist Steve Nieve). The album was co produced by Costello with Latin Grammys winner Sebastian Krys. Two standout tracks are Under Lime and Unwanted Number. The former is a spry, heavily textured pop rocker with Beatles-esque harmonies and horn arrangements on which Costello sings, “It’s a long way down from that high horse you’re on.” The latter is more low-key and boasts a soul groove and lush backup vocals, which allows Costello to belt lyrics about enduring a sour relationship. “I knew if we could make an album with the scope of Imperial Bedroom and some of the beauty and emotion of Painted From Memory, we would really have something,” Costello said in a statement, referring to the 1982 album he recently revisited on the road and his collaboration with songwriter Burt Bacharach. Bacharach co-wrote a few songs on Look Now, and sat in on piano with the Imposters on two of them, Don’t Look Now and Photographs Can Lie. Costello wrote another Look Now song, Burnt Sugar Is So Bitter, with Carole King.

A2391578665 16

Arc Iris – Icon of Ego

Arc Iris releases Icon Of Ego, its third groundbreaking album, as a trio that packs the heft of a far bigger band with fully realized sonic and visual intensity. On this latest album, vocalist / guitarist Jocie Adams, keyboardist / sample artist Zach Tenorio-Miller and drummer Ray Belli have crafted a vividly expressionistic new album that reflects both the group’s protean talents as well as its journey of survival. After its self-named 2014 debut on the nti- label, Arc Iris achieved critical acclaim, along with tours with St. Vincent and Jeff Tweedy and festivals like Bonnaroo followed. Within two years, the band self-released Moon Saloon in the US while Bella Union released the album in Europe. Tours supporting Kimbra, Gene Ween, and a complete re-imagination of Joni
Mitchell’s Blue performed at Washington’s Kennedy Center followed, which added to a growing, international fan base that has remained dedicated throughout.Icon of Ego finds a stronger, more experienced band. Recording at Providence’s Columbus Theater, home to silent movies and vaudeville during the ’20s, the band has evolved into a concentrated pop-prog explosion, mixing styles with disparate elements that captivate and surprise. With heavy synthesizer work by Tenorio and Adams, and seemingly impossible transitions executed effortlessly by Belli, the songs here carry a thick, analog electronic sound that harks back to the ’70s. Presiding over these are Adams’ powerful vocals that house the energy under pop forms.

Hay012cd lp lpc

The Lucid Dream – Actualisation

The Lucid Dream return with the release of their 4th album, Actualisation. Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream. Actualisation is soaked in the influence of acid house, amalgamated with dub and kosmische. The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove. Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor. Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz). The confrontational techno-punk of Alone In Fear opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is. Recent single SX1000 (the first work from the album, unveiled via 12′ vinyl in April this year) is the band’s first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by Ardency, a track already praised by live critics when aired live for the first time earlier this year as ‘even on first hearing, would’ve raised the roof of The Hacienda’. The 2-part opus of Zenith follows, commencing with a space-dub / house instrumental groove before building into a track that will go for your head as much as your hips. Only Breakdown harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. No Sunlight Dub closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum ‘n’ bass / jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.

A0826696641 16

Anna St Louis  –  If Only There Was a River

If Only There Was A River is the first full-length studio album from Anna St. Louis. The songwriter, who originally hails from Kansas City, began writing songs after moving to Los Angeles five years ago and has previously released a cassette of recordings on Woodsist / Mare Records, appropriately titled First Songs. On her proper debut, St. Louis spreads her wings and expands on the promise hinted at on First Songs. To achieve that end, she enlisted Kyle Thomas (King Tuff) and Kevin Morby to produce the album, which was engineered by Thomas in his home in Mount Washington, LA. The collection of eleven songs also features Justin Sullivan (Night Shop) on drums and multi-instrumentalist Oliver Hill (Pavo Pavo). While hints of influences like Loretta Lynn, John Fahey and Townes Van Zandt peek out of the corners of the songs, this album is not a nostalgic affair. Rather it marks the emergence of an artist fully coming into their own.

Inv204 packshot

The KVB  –  Only Now Forever

The KVB release their sixth album, entitled Only Now Forever via Invada Records. Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance. Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait. Will appeal to fans of Depeche Mode, The Soft Moon, New Order, Nine Inch Nails and My Bloody Valentine.

Ofdesirelp

The KVB  –  Of Desire

The fifth album from UK darkwave duo The KVB is released on Invada Records. Of Desire is Kat Day and Nicholas Wood’s second release on Portishead member Geoff Barrow’s Bristol-based label. It follows a string of releases for operations like Downwards, Minimal Wave sublabel Cititrax and Ukraine’s ~taqueOT, most of which explored a moody shoegaze aesthetic. The recording of In Deep saw the The KVB raid Portishead and BEAK> man Geoff Barrow’s synth collection, as well as roping in Sonic Boom to master it. Their most fully formed record and considered in terms of dynamics, arrangements and instrumentation, taking in influences such as Death In Vegas, Scott Walker and Roxy Music, The KVB have managed to create something that is at once familiar and yet inventive and original.

Tct th 3000

Cocteau Twins – Treasure Hiding: The Fontana Years

There was perhaps a sense, after a while, that the world was taking The Cocteau Twins for granted. Late Eighties reviews had routinely described them as The Voice of God, yet 4AD, concerned that we’d get tired of appreciating the rarefied genius which shimmered in front of our noses, would keep reminding us that they were truly special. The irony was that The Cocteaus were themselves evolving, morphing, reconstituting and taking on new shapes. This wasn’t widely registered at the time. It can be now, as The Fontana Years demonstrates a musical marvel which still makes your ears feel like they’re sucking citrus fruits after years of licking ashtrays, while the rings of Saturn crash-land in your front room. This 4-CD set brings together the two albums the band recorded for Fontana along with B-Sides, EP’s, Radio One sessions and the odd rarity. The set was mastered at Abbey Road from the original tapes and approved by Robin Guthrie. Housed in a study box designed by James Issacs – the booklet contains photos a discography from the era as well as a sleeve note by noted author Chris Roberts.

Bb the three e.p.'s 20th anniversary remaster packshot cmyk

Beta Band  –  The Three Eps (20th Anniversary Remaster)

Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. After acquiring the Beta Band’s catalogue last year, Because Music reissue their releases, with a double vinyl edition featuring the EPs Champion Versions, The Patty Patty Soundand Los Amigos Del Beta Bandidos with remastered tracks and coloured vinyls, to celebrate the 20th anniversary of the 1998 compilation.

Screen shot 2018 08 28 at 13.33.48

Tokyo Police Club  – TPC

If the universe had tilted the tiniest bit, there would be no TPC – the not-quite self-titled fourth (and best) Tokyo Police Club album. By 2016, singer-bassist and chief songwriter Dave Monks had settled into life in New York City; he made a solo record and did some co-writing. Drummer Greg Alsop was living and working in L.A. Keyboard player Graham Wright and guitarist Josh Hook remained in the band’s native Canada. Tokyo Police Club created songs via e-mail, thinking they had enough natural chemistry and experience to make that setup work. But eventually, the lack of friction meant there was less musical spark, and it dawned on everybody that the end was near. There was resignation, not anger, when Wright, Alsop, and Hook told Monks they were done with the band. After putting aside the idea of splitting up and back-burnering their commercial expectations, there was just one thing left to do: go to church. Specifically a church in rural Ontario, where the foursome could recapture the energy of their early years by playing in a room together. Songs that Monks had written were abandoned when they didn’t feel right for this new energy, and TPC started to take shape, built on camaraderie and esprit de corps.

Monks’ friends could once again help shape his songs into TPC songs, and the batch that ended up on the record aren’t quite like anything they’d done before. Album opener New Blues signals that Tokyo Police Club doesn’t need a racing tempo to introduce themselves; Pigs takes a sneering look at record-business politics; Simple Dude is unabashedly horny. Not giving a fuck—or, more accurately, only giving a fuck about those things closest to your heart—paid off. It’s the channeling of energy, which flows into every song on TPC, that makes the record their best. They’re through being cool, through doubting themselves, and through wasting time on ancillary things. TPC is self-titled, almost, because it’s Tokyo Police Club circa 2018—scarred but smarter, fully re-energized.

Holsapple vs chilton death of rock ov 303 600x600

Peter Holsapple vs Alex Chilton – The Death Of Rock

Newly discovered recordings of early solo Peter Holsapple and Like Flies On Sherbert–era Alex Chilton. Liner notes by Peter Holsapple and author / filmmaker, Robert Gordon. Previously unseen photos from the collections of Peter Holsapple and Pat Rainer. It’s 1978 at Sam Phillips Recording Service in Memphis, TN. Peter Holsapple had rolled into town chasing the essence of Big Star. He hooked up with musician / engineer / friend-of-Big-Star, Richard Rosebrough after approaching, and being turned down by, Chris Bell who Holsapple had hoped might be interested in producing him. Together Richard and Peter started laying down tracks during the off hours at the studio. Chilton meanwhile, was knee deep in the making ofLike Flies On Sherbert, also being tracked at Phillips. He told Peter, “I heard some of that stuff you’re working on with Richard . . . and it really sucks.” Alex promised to come by and show Peter “how it’s done.” The results? Alex’s tracks definitely line up with the chaos found on Flies, while several of Peter’s songs found homes on The dB’s albums (Bad Reputationand We Were Happy There) and on an album by The Troggs (The Death Of Rock retooled as I’m In Control), so not a loss at all. What we have in these newly discovered tapes, is a fascinating pivot point with both artists moving past each other headed in distinctly different directions. Chilton moved toward punk/psychobilly as he began playing with Tav Falco’s Panther Burns and produced The Cramps debut, Songs The Lord Taught Us, within a few months of these recordings. Holsapple was off to New York to audition for The dB’s and enter the world of “sweet pop.” Liner notes by Peter Holsapple tell the story of these recordings firsthand and author / filmmaker / Memphian, Robert Gordon, helps pull the time and place into focus. Previously unseen photos included in the package are drawn from the collections of Peter Holsapple and Pat Rainer. Produced by Cheryl Pawelski with mastering by Mike Graves at Osiris Studio and Jeff Powell at Take Out Vinyl / Sam Phillips Recording Service in Memphis, who brings it all right back to where it started.

Unspecified 9 grande

John Hiatt  –  The Eclipse Sessions

The Eclipse Sessions, John Hiatt’s newest album, offers up his strongest set of songs in years. Long celebrated as a skilled storyteller and keen observer of life’s twists and turns, Hiatt can get at the heart of a knotty emotion or a moment in time with just a sharp, incisive lyric or witty turn of phrase. The 11 tracks presented in The Eclipse Sessions, from the breezy opener Cry To Meto the stark Nothing In My Heart, the lost-love lamentation Aces Up Your Sleeve to the rollicking Poor Imitation Of God, demonstrate that the singer-songwriter, now 66, is only getting better with age, his guitar playing more rugged and rootsy, his words wiser and more wry. Hiatt goes all in with The Eclipse Sessions. There’s a grit to these songs – a craggy, perfectly-imperfect quality that colours every aspect of the performances, right down to Hiatt’s vocals, which are quite possibly his most raw and expressive to date. “They ain’t pretty, that’s for sure,” he says about the creaks and cracks that punctuate his phrases in songs like Poor Imitation Of God and One Stiff Breeze. “But I don’t mind a bit. All the catches and the glitches and the gruffness, that sounds right to me. That sounds like who I am.” The Eclipse Sessions is the sound of an artist not only living in but also capturing the moment.

Spacemen 3 forged prescriptions orbit060cd

Spacemen 3 – Forged Prescriptions

Forged Prescriptions is a double album by Spacemen 3, containing alternative takes and demo versions of songs from their album The Perfect Prescription, plus some previously unreleased tracks. In his liner notes

Bbcts24695cd

Jeff Buckley –  Live In Pilton UK, June 24, 1995

Recorded in Pilton, Somerset, England at the legendary Glastonbury Festival – running nearly 50 years now, since 1970 – on June 24, 1995, this is one of Jeff Buckley’s most famous live recordings. Raw, heavy, heartfelt, and deeply emotional, the set is comprised almost entirely of Buckley originals, mostly off of 1994’s Grace as well as one unreleased track and an unexpected cover of the MC5. Required live listening for any fan of this great 90s artist gone way too soon, who left only a small but nearly perfect legacy of recorded music.

Nk201809

The Rolling Stones – The BBC Sessions 1963-1965

Amazing early live BBC recordings from The Rolling Stones, even including recordings made before the release of their first record. Essential stuff for any fan of the greatest rock and roll group of all-time, including a ton of their great early R&B and blues cover versions! Including early Stones classic covers like Memphis, TN, It’s All Over Now, and Hi-Heel Sneakers, this is a party on wax. Nothing beats early Stones with Mick and Keith wailing and the band as amped up as they ever were! Classic.

Nk201807

Small Faces – The BBC Sessions 1965-1966

Collecting some of their earliest BBC sessions onto one disc this is Steve Marriott and his Small Faces at their absolute rocking R&B rave up best. Featuring classic originals like Watcha Gonna Do About It, E Too D, and Understanding, as well as killer covers of Motown and Otis Redding, this set is guaranteed to get you go-go’ing on the dancefloor. The greatest UK blue eyed R&B group of all-time at their live best.

Nk201808

The Kinks – The BBC Sessions 1964-1967

Spanning tracks from the classic 1964 self-titled debut to their 1967 masterpiece Something Else by the Kinks, this collection features nearly two dozen Kinks klassics, recorded live on the BBC. With stunning sound quality and a near perfect group of songs, hear the Davies Bros and Co. at their live, raw best. From the psych-pop brilliance of David Watts to the foot-pounding R&B of All Day And All Of The Night this collection runs the full spectrum of The Kinks’ sound. Essential live cuts from one of the top British Invasion and psychedelic era groups!

This Weeks Releases —-
Anna St. Louis – If Only There Was A River – Woodist
Daniel Brandt – Channels – Erased Tapes (Indie Exclusive)
John Grant – Love Is Magic – Bella Union (Deluxe)
Kurt Vile – Bottle It In – Matador (Indie Exclusive)
Yves Tumor – Safe In The Hands Of Love – Warp
Factory Floor – A Soundtrack For A Film – Heart Of Data (Indie Exclusive)
A Certain Ratio – The Graveyard & The Ballroom – Muts (Indie Exclusive)
Silicon Teens – Music For Parties – Mute
William Basinski & Lawrence English – Selva Oscura – Temporary Residence (Indie Exclusive)
Goatman – Rhythms – Rocket Recordings (Indie Exclusive)
Groundhogs – Blues Obituary – Fire Records (Indie Exclusive)
The Fall – I Am Kurious Orange – Beggars Banquet
Eric Random – A Boy Alone – Dark Entries
Talking Drums – Courage – Dark Entries
Cyrnai – To Subtle Drive – Dark Entries
Tess Parks & Anton Newcombe – Tess Parks & Anton Newcombe – A Recordings
Holger Czukay – Rome Remains Rome – Gronland
Holger Czukay – Der Osten Ist Rot – Gronland
Haley – Pleasureland – Memphis Industries (Indie Exclusive)
Exek – A Casual Assembly – Superior Viaduct

 

Image001

Kurt Vile has become known for his unmistakable nasal drawl and classic rock and folk sensibilities, but his musical origins leaned on a more lo-fi, psychedelic sound with record releases like 2008’s Constant Hitmaker and 2009’s Childish Prodigy. Now, a decade later, Vile says there’s another clear distinction in his mind between then and now. “The one big difference now is my religion is literally ‘Don’t force it,’” he says.

His latest album, “Bottle It In”, certainly doesn’t sound forced as it’s got plenty of breathing space. The tracks that make up the album’s hour and 20 minute length are chill, melodic and perpetually locked into a head-bobbing groove. Mind you there’s still distorted and twangy riffs on tracks like “Loading Zones” and his Charlie Rich cover, “Rollin With The Flow,” and these riffs often interact with his measured grooves, but the grooves humbly take center stage, and it doesn’t take very long for them to become fixed into your mind, body and soul.

The Philadelphia rocker Kurt Vile is back alongside his band, The Violators, for his seventh solo album and his first since 2015’s “b’lieve I’m goin down”. Two tracks have already been released: “Bassackwards” is a sprawling, hypnotic foot-tapper, and “Loading Zones” is a distorted guitar assault with a playful lyrical ode to the humdrum exercise of parking. Across the album’s hour and 20 minutes, the record captures the bare bones beauty of Smoke Ring For My Halo, the guitar prowess of b’lieve I’m goin down and the lyrical transparency of Childish Prodigy. Vile doesn’t shy away from eight- to 11-minute track lengths, and he creates enthralling grooves at the center of each track as other instruments weave in and out, creating a dreamy, sonic transcendence.

Four tracks fall around the eight-to-10-minute range and unlike many songs that long, Vile evades bombastic, over-indulgent territory. Rather, on tracks like “Bassackwards,” “Check Baby” and the title track, he leads these seemingly simple grooves that sneakily weave their way into the listener’s consciousness and lull you into a misty dream with each additional musical element snaking in and out of the song’s strong melodic foundation. “I’ve always had a soft spot for repetition,” sings Kurt Vile on the compassionate “One Trick Ponies,” and these songs reflect that with their hypnotic, circling instrumental interplay.

Vile says he wasn’t concerned about the length of the tracks as he’s got a pretty good feel for when to pull the plug. “I know when not to cut something down if I’m still bobbing my head into the track,” he says. “As opposed to all of a sudden thinking about something else and not paying attention anymore—that’s when I know you gotta cut it out or try again.”

‘Loading Zones’ is the newest single by Kurt Vile, out now on Matador Records.

There’s a whole album’s worth of outtakes. They didn’t fit on the record, but there’s still contenders for another album or EP. I would say the one song that maybe I didn’t expect would make the record because I recorded it a little later was ‘Come Again,’ the banjo song. That’s a lot of people’s favorite.”

In addition to his backing band, The Violators, this album is chock full of guest musicians: Kim Gordon, Warpaint’s Stella Mozgawa, Mary Lattimore, Lucius and Cass McCombs. Gordon, who’s become a good friend of Vile’s, contributes ephemeral guitar feedback on the outro of “Mutinies.” “I went to see my friend Steve Gunn who happened to be playing at the Echo in Los Angeles,” recalls Vile. “So I went and saw him. Mary Lattimore was actually opening up. I saw Kim in the audience and we were hanging. I told her what I was about to do and she said, ‘Let me know if you want some acoustic guitar feedback,’ which was her words. It came together nicely for sure.”

While Lucius contributes backing vocals to “Come Again,” the other three musicians all guest on the album’s centerpiece and title track. “Bottle It In” includes drums from Mozgawa, harp from Lattimore and vocals from McCombs. The nearly 11-minute track is the album’s most striking cut with its simple yet breathtaking keyboard riff that mingles with Lattimore’s harp for a divine, melancholy effect.

“That’s one of my favorite tracks,” says Vile. “I wrote it on this weird keyboard at my house. The same keyboard I wrote ‘Cold Was The Wind’ on. You can hear it’s really kind of scratchy and weird. I prerecorded the basic track, which was 11 minutes long and I definitely thought I would cut it down. We listened back and it was very hypnotic and beautiful, just the right amount of all the things—a little bit sad, a little bit beautiful—sort of a song about rejection. A song about getting your feelings hurt a little bit. Normal human emotions.”

“It’s only a few chords really. It’s sort of open to reacting melodically, vocally, all those things, as long as you don’t overplay, as long as you’re in the groove. That’s basically why it’s the title track because I don’t want it to go unnoticed or I don’t want it to be taken too lightly like, ‘Oh this is a weird, minimal orchestral song.’ It’s so much more than that. That’s definitely a different type of song for me. Not out of left-field really but something special.”

The lyrics on this album are up in the clouds—sometimes literally (“Hysteria”) and other times metaphorically. The album is a generous, thoughtful dialogue with himself as he reaches for both abstract musings and level-headed professions. While the bittersweetness and ruminative nature of his predecessor, b’lieve i’m goin down, still lingers, Vile’s playful side is still apparent, most visibly on the lead single, “Loading Zones”—perhaps the most epic rock ’n’ roll song about the humdrum exercise of parking. In fact, the song was actually written during the b’lieve sessions, but Vile felt he wasn’t ready to release it yet.

“It was just I’ve been more one with playing it on the guitar,” he says. “It came off more confident. I had the basic chords written but you know how the words spew—it’s pretty psychedelic and humorous—definitely not absurd, it’s just a little weird. I didn’t think I earned the right to put out such a weird song. I don’t think it would’ve made sense. I’m glad I waited and put out ‘Pretty Pimpin’ or something that people would connect with more.”

The album was written and recorded over roughly a two-and-a-half year period at multiple studios, mostly between touring and family vacations. It features a clown car of guest musicians and producers and it also includes a plethora of instrumental elements: various keyboards and synths, banjo and harp. To the non-musician, it sounds like a steep task to make a cohesive body of work in such conditions, but Vile wouldn’t have it any other way. “I’ve really always been doing that,” he says. “That’s just me having a little experience to take it a little further,” he explains. “Even in the old days, I was at least recording at different people’s houses and various studios. You’d be surprised. I think things would sound weirder if you recorded all in one spot. I think it’s better to record all over the place because you get all kinds of different dimensions and perspectives as opposed to just the same sound of the same room. The same exact guitar and drum sound. That’s not really me.”

Vile’s guitar playing on this record truly runs the gamut. On “Loading Zones,” he uses the same wah-wah pedal as Sonic Youth on their 1995 single, “The Diamond Sea.” “Bassackwards” sounds straight out of Kevin Shields’ playbook. “Yeah Bones” has a cascading, acoustic country jangle. And on “Rollin With The Flow,” Vile’s guitar cries out and reverberates with flare. “I’m kinda like a space cadet,” he says. “I’ll usually never fully master a pedal use it to its full possibilities, but I’m definitely into them. I like filters, warm, analog, weird synthy kind of tones. Vintage guitars for sure—the more beat up the better. Tremolo bars. Anything that kind of bends but in a really dreamy, melodic way. I like vibrato a lot too.”

Though Vile doesn’t consider himself a gear head, he has a certain level of appreciation for vintage instruments. “I’m into old synths that look cool or keyboards that sound fucked up and guitars, weird amps and old pedals—vintage things. Of course they have to sound good, but they also have to look cool. You have to be drawn to them,” he says.

The album artwork for Bottle It In also reflects Vile’s love for all things vintage. The cover features a worn-in black background, a square rainbow border, ’60s typography and a photo of Vile with an Elvis lip curl—though Vile’s retro vibe is, hilariously, nearly sabotaged by his Planet Fitness t-shirt. “You’re dealing with modern fonts,” says Vile, “I always thought like a real typewriter looks better or something beaten up a little. I basically found an old record that I liked and had it morphed and used the wear of that record. I wanted it to look used and worn in. I always think things look a little strange, when they’re super crisp and modern.”

Some artists consider their earlier work immature and are quick to run away from their previous sound, but Vile doesn’t align with those sentiments. Like his lo-fi beginnings, he’s planning to go back to home recording some time in the future and he’s not fearful of repeating himself. “I’m in a super nostalgic phase right now,” he says. “I’m listening to a lot of things that I love in the ’90s like Drag City music and stuff like that. I think that I’m always trying nostalgically to get to my roots. I think I’d be really into this record as a teenager because I’m just trying to sound like what I was into in my teens. Ideally, I think I’m always gonna evolve and fine-tune my craft, but it’s always going to sound like me.

From Kurt Vile’s new album, ‘Bottle It In’ available October 12, 2018 via Matador Records.

Last fall, Kurt Vile teamed up with Courtney Barnett for the collaborative album Lotta Sea Lice. Now, he’s about to launch his upcoming seventh solo album — his first solo effort since 2015’s b’lieve i’m goin down, which became highest charting Billboard 200 release . Judging by the instrumentally intricate and lyrically humorous lead single “Loading Zones,” Bottle It In picks up where Vile left off with few detours: His brand of twangy slack-rock is unmistakably him, and this new project will fit seamlessly into Vile’s quickly growing catalog.

Kurt Vile has now shared a third single off his new album Bottle It In, which comes out next week (10/12) via Matador Records. Like the previous singles, “One Trick Ponies” has that laid-back, trademark Kurt Vile feel but manages to sound like something new for KV too. He’s joined by Warpaint’s Stella Mozgawa and Beachwood Sparks’ Farmer Dave Scher on the harmony-fueled chorus, and KV also shows off his harmonica playing on this one.

Kurt Vile also has several tour dates coming up, including a run with the great Jessica Pratt

BottleItInPackshot.jpg

Last month, Kurt Vile released his first new single since 2015, “Loading Zones,” and now he’s giving the people what they want by wheeling out a new album. Bottle It In, due out on October. 12th via Matador Records, It will be Vile’s first LP since 2015’s b’lieve i’m goin down…., and the Philly singer-songwriter has shared another new song alongside today’s announcement, the gorgeous, nine-plus-minute epic “Bassackwards.”

Vile recorded “Bassackwards” with engineer and producer Shawn Everett at The Beer Hole in Los Angeles, and his Bottle It In bio describes the track as “the album’s beating heart and Vile’s most compelling evocation of how he sees the world.” Vile is of two minds—and sometimes none at all—on the song, singing, “I was on the beach but / I was thinking about the bay / got to the bay but by then I was far away,” over dreamy backmasked guitars and gentle acoustic strums. The polarized instrumentation fits perfectly with the song’s refusal to settle on one direction ”Bassackwards” moves two ways at once, leaving us wondering which way is true North, or if there even is one.

Listen to “Bassackwards” below

Kurt Vile and Courtney Barnett have released a new documentary depicting their friendship the creative process around their collaboration that led to the joint album Lotta Sea Lice. The film is directed by Kurt Vincent and Irene Chin and features interview clips with both Vile and and Barnett alongside  live performance clips from the duo’s performance at the Loew’s Jersey Theatre in New Jersey.

The new documentary, called Friends of Wonder,

A lavish New Jersey theater saved by a dedicated group of locals. Rising dramatically from a cluster of discount stores, dive bars and pawn shops, The Landmark Loew’s Jersey Theater is an outlier among its surroundings in Jersey City’s bustling Journal Square.

New Jersey’s second-largest city is a quick train trip from New York City, with a view of the Manhattan skyline from across the Hudson River. It has seen significant redevelopment lately, but still it’s not known for its beauty; mostly, it’s a city focused on industry.

The Loew’s exterior evokes a bygone era of architectural grandeur, with intricate embellishments creeping up the stone walls and a vintage marquee, slightly run-down yet oozing with the glamour of old Hollywood. But it’s the inside of the theater that takes your breath away.

A concert performed by musical soul-mates who live on different sides of the world. A pair of filmmakers telling these two idiosyncratic stories in one documentary. The uplifting tale behind Friends of Wonder.

Courtney Barnett & Kurt Vile playing live on The Late Show With Stephen Colbert

Courtney Barnett and Kurt Vile recently teamed up to create one of the best rock records to be released so far this year, Lotta Sea Lice. Now, the duo have done what we expect of them, and absolutely smashed their live performance on one of US TV’s favourite late night shows.

Kurt and Courtney recently released their debut collaborative album to great critical acclaim around the world, Now with the duo in the middle of a US tour in support of the record, they stopped by The Late Show with Stephen Colbert to add late-night TV audiences into their legions of fans,

“My next guest joined forces to make their new album, Lotta Sea Lice,” said host Stephen Colbert in his introduction of the pair before the other Kurt and Courtney jumped into a rousing rendition of their track ‘Over Everything’. The studio audience appeared to absolutely adore the stellar performance, reacting with applause and excitement that usually goes far beyond what’s expected for a performance such as this.

Of course, it didn’t stop there though, with the duo also recording a bonus performance of ‘Continental Breakfast’ while backstage in The Late Show studios. Intimate and acoustic, this extra performance shows Courtney Barnett and Kurt Vile doing what they do best, and sharing emotive music with only minimal instrumentation to back them.

While the duo have been impressing audiences all over the US with the product of their collaborative efforts, we’re still hoping for their tour to hit the U.K.  Its a great musical venture, we can only hope that the pair will decide to treat audiences here .

lotta sea lice

Australian Courtney Barnett  and American Kurt Vile may be separated by entire oceans and continents, but they’ve found a way to turn the story of their long-distance friendship into a sweet little melody—that is, the newest single from their forthcoming collaboration album Lotta Sea Lice, “Continental Breakfast.”

Accompanying the track is a video that features rare footage of each of the slacker-rock idols in their respective natural habitats: Barnett exchanges kisses with her partner and her cat, tends to her garden and plays basketball with her friends, while Vile chugs four beers, goes on a nature walk and hangs out with his family.

To shoot the video, director Danny Cohen spent time with Barnett and Vile in Melbourne and Philadelphia while they had time off from recording and touring: The Video is Shot on 16mm, the mini-documentary captures honest moments that show the loving and playful nature of both Courtney and Kurt. It was such a treat to experience life with Courtney and Kurt in their natural habitats. It really left me feeling like part of the family and hopefully fans can feel that too.”

‘Continental Breakfast’ is taken from Courtney Barnett & Kurt Vile’s upcoming album ‘Lotta Sea Lice’

format

Kurt Vile and Courtney Barnett have released “Over Everything,” the steady new single from their collaborative LP, Lotta Sea Lice, due out October 13th via Matador Records. In the black-and-white clip, the indie rockers sing straight into the camera while strumming their Fender electric guitars in a series of localities a beach, city bridge and country field.

How the two singer-songwriters got together for an excellent LP of shared deadpan genius with its ragged wall of guitars, deadpan vocal delivery and stream-of-conscious lyrics, “Over Everything” sounds like a natural meeting point between the singer-songwriters’ respective styles.

The duo will promote the LP with a tour launching through October and November in U.S.A . The jaunt will feature a backing band of revolving members, the Sea Lice, including Janet Weiss (Sleater-Kinney), Stella Mozgawa (Warpaint), Rob Laakso (the Violators, Mice Parade) and Katie Harkin (touring member of Sleater-Kinney and Wild Beasts).

Vile and Barnett also detailed the album’s track list and revealed its collaborators, including Mozgawa, Australian music icon Mick Harvey (Nick Cave and the Bad Seeds, the Birthday Party) and the Dirty Three’s Mick Tuner and Jim White.

The nine-track Lotta Sea Lice includes Vile’s cover of Barnett’s 2013 track “Outta the Woodwork” and Barnett’s take on Vile’s 2011 tune “Peeping Tomboy.” The album follows Vile’s 2015 solo LP, Believe I’m Goin Down and Barnett’s debut from the same year, Sometimes I Sit and Think And Sometimes I Just Sit .

“Over Everything” initially sparked the pair’s collaboration, after Philadelphia-based Vile wrote the song with the Melbourne-based Barnett’s voice in mind. They soon began swapping material and realized their intended low-key “side-project” had blossomed into something more substantial.

“The vibes were strong,” Vile said of their creative process. “We discovered we could finish things on the quick, like an outlaw country singer, or Neil Young.” Barnett added, “We were mucking around, eating pizza, and we had all these songs all of a sudden.”

‘Over Everything’ is taken from Courtney Barnett & Kurt Vile’s upcoming album ‘Lotta Sea Lice’

Mazzy Star’s Hope Sandoval Announces a New Album, Also Shares New Song With Kurt Vile: At this stage of her career, you feel like you know what you’re going to get with Hope Sandoval her instantly recognizable voice, still the same some 25 years after we first heard her with Mazzy Star; languid, country-tinged arrangements; and an abiding sense of melancholy. She’s certainly not messing with this formula, but she is expanding on it

Listen out for the new album Until the Hunter is Hope Sandoval & the Warm Inventions’ first record since 2009

Hope Sandoval (of Mazzy Star) and Colm O Ciosoig (of My Bloody Valentine) have announced a new album from their project Hope Sandoval and the Warm Inventions. The new record, which is the duo’s first since 2009’s Through The Devil Softly, is called Until the Hunter, and it’s out November 4th via Sandoval’s own label Tendril Tales . Along with the announcement, they’ve shared a new song from the record, “Let Me Get There,” which is a duet with Kurt Vile. Hear it below. In a press release, Kurt Vile said of the collaboration:

It was a total honor to sing along to a beautifully hypnotic soul groove with heavyweights like Hope, and Colm, and all the other top notch musos. To respond to Hope’s call in song of letting her get there felt right and real and gave me chills while singing, even though I knew they already got there years before I walked in the building.