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Travel can inspire in surprising ways: Kurt Vile discovered as much making his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around the country over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips. Every song, whether itās 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 godāa mantle he would dismiss out of humility but also out of a desi
Travel can inspire in surprising ways: Kurt Vile discovered as much making his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around the country over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips. Every song, whether itās 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 godāa 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 ideasāitās 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-talkinā drawl. He revels in the minutiae of the musicānot simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on āHysteria,ā how Kim Gordonās āacoustic guitar distortionā (her term) engulfs everything at the end of āMutinies,ā how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to āCome Again.ā These journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album bālieve Iām goinā down, recorded a duets album with Australian singer-songwriter-guitarist Courtney Barnett, opened for Neil Young in front of 90,000 people in Quebec, famously became a clue on Jeopardy, hung out with friends, took vacations with his wife and daughters. āIāve been bouncing around a lot and recording all over. My family would meet me in the middle of America, and weād go on a road trip somewhere. I would record in between all that stuff.ā As Vile prepares for another round of lengthy tours and countless shows, these songs should prove good company, reminders of the love and responsibility he has toward those he leaves at home and those he meets along the way. That makes the sentiments resonate more strongly and lends Bottle It In an emotional weight. āItās like that moment on the airplane,ā Vile says, āwhen youāre on your way somewhere and you have that burst of panic. When youāre terrified of dying, thatās when you want people to know you love them.ā āImpeccably recorded and mixed songs that shuffle bits of folk, new wave, or country in the mix but are always squarely down-the-middle rock.ā Mark Richardson, Pitchfork āVileās self-awareness is as appealing as his melodies, and heās stoked a reputation as a bit of a slacker maharishiāat the very least, a look inside Vileās head might make you think a bit more deeply about whatās going on in your own.ā The New Yorker
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Manufacturer: Matador Records
Release date: 12 October 2018
Number of discs: 2
EAN: 0744861114611 UPC: 744861114611
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Albums - Listened to in 2018 (94 music items)
