
Kurt Vile

Big Troubles

See more over at The Village Voice.

Think sundrenched, think sentimental, and—yes—think subtle. On Real Estate’s eponymous debut album, fittingly released by buzz label Woodsist last week, the songs are in no rush. The hooks are there—and enough “uh oh” choruses to have you singing along—but they take their time. –Nylon Magazine

...Daniels, White and the band mixed and matched sounds to the point where genre became irrelevant. Their twangy ballads segue to polyphonic New Orleans jazz ("Though All the Fates"), songs that build from a beautiful chorale to roots-rock and then an improv jam filled with woody percussion ("October Airs" and "On Fields"), slow burns where a single mantra builds, achingly, over the course of eight minutes ("Each Summer Sound"). There are rock beats, swirling flute, "Penny Lane" trumpet, atonal free-jazz solos, jump cuts which explode into colors — all of which serve well-constructed pop songs ("The Funeral Bell," "Die and Be Buried" and so on).
file under: jazz, indie, experimental, post-rockThese seven interwoven pieces delight: Accessible but not pedestrian, complex but not esoteric, Extended Vacation feels improvised in spirit, but, in both structure and sound, it reveals two focused, imaginative composers and performers. The melodies and the warped sounds-- a vibraphone blurred into an organ, animal samples sculpted into a symphony, xylophone lines fashioned into music box tunes-- make Extended Vacation the most instantly likable On Fillmore album yet.
"Master Moon" by On Fillmore from Secretly Jag on Vimeo.

The Postelles channel Joe Jackson and Elvis Costello and – more recently – the Arctic Monkeys and the Strokes, building songs from brief guitar stabs and sounding like the wound-up early hours of what will be a long Saturday night on the town. There are elements of both mod and post-punk, but The Postelles have a sneering attitude all their own… –Rolling Stone

Vile has a gift for finding just the right textures for his songs. At his best, every layer of sound is sumptuous in its own way. This holds true whether he's fingerpicking or just wandering around the neck of his guitar, and whether with a full band or alone with just a drum machine. At his worst, songs can get lost in too much gauze and too many effects, but Vile doesn't make that mistake this time out. On opener "Ocean City", his vocals are clear and his strumming is as playful as the melody is light, and the result is one of the cleanest songs he's put to tape. Elsewhere, Vile goes it alone along more familiar routes and demonstrates his way with immersive mood. "Invisibility: Nonexistent" is a particularly strong example, a seven-minute drone-driven piece with a repeating maze of lazy drum machine and distant guitar work.