Posts Tagged ‘the Violators’

Kurt Vile released a new album, “Bottle It In”, back in October 2018 via Matador Records. Among our Top Albums for that year. Now he has announced some more tour dates. He has also covered The Rolling Stones’ “No Expectations” in a session for Spotify, where he also performed his own “Loading Zones.”

Matador Records is now sharing a little behind-the-scenes info on the project in the form of a twenty-minute documentary detailing Vile’s experience leading up to its recording. Filmed in New York’s Catskill Mountains, (bottle back) follows Vile as he rehearses the songs that would appear on Bottle It In alongside Canadian alt-westerners The Sadies and guitarist/producer Matt Sweeney, as well as his band The Violators.

In addition to full-song footage of Vile playing through “Baby’s Arm,” “Bassackwards,” and “Check Baby,” (bottle) provides plenty of insight into the artist’s personal life and how he’s learned to balance raising a family with a prolific output of new music. “I basically would do a whole album cycle, then start a new record and go out again when the record was done,” he says at one point before swigging a beer. “I just get so deep into the record that I can’t stomach that ever again—I’ll puke. I just gotta live my life, make music in between everything else—family world, playing live, and otherwise. It’s just the way I live.”

You can watch the Ryan Scott–directed doc in its entirety below, and stream the new version of “Baby’s Arm”.

Bottle It In includes “Loading Zones,” a new song Vile shared in August 2018 via an amusing video for it, When the album was announced Vile shared the near 10-minute long “Bassackwards,” via a lyric video for the song.  Then he shared another song from the album, “One Trick Ponies,” via a lyric video for the song. He also stopped by SiriusXM for a session covering Tom Petty’s “Learning to Fly” and perform “Bassackwards.

Then he stopped by Jimmy Kimmel Live! to perform “Loading Zones.” He also shared a non-album track, “Timing Is Everything (And I’m Falling Behind),” which was an Amazon Original. Vile also performed another session for NPR Music to performing three songs as part of their Tiny Desk Concert series, where he did “Bassackwards,” “Loading Zones,” and “Peeping Tomboy.” Then he stopped by Late Night with Seth Meyers to perform the album’s “Yeah Bones.”

“Bottle It In” was the follow-up to 2015’s b’lieve i’m goin down, although in 2017 Vile teamed up with Courtney Barnett for a collaborative album, Lotta Sea Lice. Bottle It In was recorded over the course of two years in various cities (including Los Angeles, Brooklyn, and Portland), with various producers (including Rob Schnapf, Shawn Everett, and Rob Laakso, a member of his backing band The Violators). The majority of Bottle It Inwas recorded at Tarquin Studios in Bridgeport, Connecticut, with Peter Katis (Interpol, the National) engineering and producing. The album also features Cass McCombs, Kim Gordon, Mary Lattimore, Lucius, Warpaint’s Stella Mozgawa, and Farmer Dave Scher.

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.


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.


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.”


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.”



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.’


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.


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.


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.”


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)


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.

Before pressing play on Kurt Vile’s new album, its artwork sticks out.b’lieve i’m going down, the Philly rocker’s sixth record, shows Vile sitting alone with an acoustic guitar, just like the image on his breakthrough Smoke Ring For My Halo. “This is definitely more of a loner record,” which largely foregoes the crunchy riffs and psychedelic jams that Kurt Vile and his band the Violators packed into 2013’s Wakin on a Pretty Daze. “The last record was really Violators-based,” he says. “This one it’s like half and half.”

But whether Kurt Vile deals in electric groove or acoustic precision—and on b’lieve it’s usually the latter—he keeps his Möbius-strip-like guitar melodies intact. Recorded partly in Joshua Tree and lyrically nodding to topics from Dust Bowl history to early Bob Dylan and Simon & Garfunkel songs, b’lieve is Vile’s most American-sounding album yet. “It’s got a lot of West Coast vibes,” Vile says. “I definitely feel comfortable on the East Coast in a natural, ball-busting way, so we get that edgy thing. Then when I go to the West Coast I can tap into the more ethereal drifter thing.”

Kurt Vile might explore big sounds and ideas in the studio but in conversation he’s grounded and affable. This seemingly-oxymoronic mix of clarity and disjointedness has contributed to Vile’s image as a stoner

Kurt Vile’s 2015 will soon ramp up in a big way. b’lieve comes out Sept. 25th and along with sharing lead single “Pretty Pimpin”—streaming below—the rocker announced a slew of tour dates and the album’s tracklisting on Tuesday. Vile chatted with EW about getting back to his loner roots, being influenced by Cormac McCarthy and Flannery O’Connor, and why a potential reunion with former War on Drugs bandmate Adam Granduciel isn’t out of the question.

From the new album “b’lieve i’m goin down” out September 25th




Steve Gunn a new phenomenal guitarist the Philadelphian reared on punk, but now he is expanding his repertoire into blues, folk and country with his intricate finger picking on his Guild 1970 guitar, he was a bassist in a pretty hardcore band but last year he toured as part of Kurt Vile’s Violators band, his new album “Way out Weather” out this week.  Way Out Weather: Hot on the heels of last year’s fantastic Time Off, Way Out Weather is a tour de force filled with a seemingly endless array of awesome guitar tones, fantastic interplay and powerful songwriting. It’s Gunn’s most lushly produced effort to date, and this approach works out perfectly — it’s a record you’ll get lost in, whether you’re playing it at home or taking it for a spin on the open road (we highly recommend the latter).