Kurt Vile + RVG @ Rosemount (PERTH)

April 28, 2019
4:30 pm

Mistletone could not be prouder to present the return of the supreme Kurt Vile & the Violators, touring brand new album Bottle It In with special guests RVG. Tickets on sale now!

KURT VILE & THE VIOLATORS TOUR DATES:

  • SYDNEY: Monday 15 April @ Enmore Theatre with RVG. Tickets on sale here.
  • WOLLONGONG: Tuesday 16 April @ Unibar with RVG. Tickets on sale here.
  • CANBERRA: Wednesday 17 April @ ANU with RVG. Tickets on sale here.
  • BYRON BAY: 18-21 April @ Bluesfest. Tickets on sale now.
  • MELBOURNE: Monday 22 April @ The Forum with RVG. Tickets on sale here.
  • ADELAIDE: Saturday 27 April @ The Gov with RVG. Tickets on sale here.
  • PERTH: Sunday 28 April @ Rosemount Hotel with RVG. Tickets on sale here.

Weeks of speculation come to an end today as details of the new Kurt Vile album can finally be confirmed: One of the most critically and commercially acclaimed artists of the last decade will release Bottle It In on Friday 12 October via Matador Records / Remote Control.

A sprawling new jammer titled ‘Bassackwards’ follows previously released Bottle It In single, ‘Loading Zones’, an ode to the parking challenges in Vile’s native Philadelphia, described alternately as “Vile at his comforting, shaggy best” (The Guardian), and an “ambiguous rumination on small town life” (MOJO). The epic, loping ‘Bassackwards’ is the album’s beating heart and Vile’s most compelling evocation of how he sees the world: “I was on the ground circa Planet Earth, but out of sorts,” he sings over a gently psychedelic bed of backmasked guitars. “But I snapped back, baby, just in time to jot it down.

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 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.”

These journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album b’lieve I’m goin’ down, recorded a duets album with 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.

In April 2017, he trekked out to Indio, California, to catch the Stagecoach Festival and sit in with his friends the Sadies (“my favorite modern band”). Inspired by Willie Nelson’s epic set, Vile spent a few days in Los Angeles working with producer Rob Schnapf at his Mant Sounds studio.  The two had previously worked together on “Pretty Pimpin,” the leadoff track on b’lieve that became a number-one AAA radio hit. Their second collaboration was similarly inspired: Featuring backing vocals from Cass McCombs, the eleven-minute title track is full of ominous bass rumbles, hazy-steady drumbeats from Warpaint’s Stella Mozgawa, delicate harp stabs from Mary Lattimore, and what sounds like chewy distortion leaking out of a David Lynch flick.

Months later, when a lengthy Violators tour ended in Salt Lake City, Vile let the momentum carry him further west, where he recorded several more songs with engineer/producer Shawn Everett (Alabama Shakes, the War on Drugs) at The Beer Hole in Los Angeles.  Other songs were put to tape during sojourns to Portland, Oregon, and to Greenpoint, Brooklyn, where fellow Violator Rob Laakso co-produced. The bulk of Bottle It In was bottled up at Tarquin Studios in Bridgeport, Connecticut, with Peter Katis (Interpol, the National) engineering and producing. Bottle It In captures the spontaneity of these impromptu sessions, revealing Vile as a diligent and singularly determined musician.
 
These recordings are the destinations, but the journeys were just as important, whether they gave him time with his wife and kids or an opportunity to get some writing done. “For a while I was terrified of flying, so I would be listening to whatever country songs I was obsessed with. I’d have George Jones blasting in my ears. Or, I would be reading something about country music. Or, I would start writing songs in that flash of being afraid, being swallowed by life. I’m up there on a plane drinking wine because like everybody else I’m afraid to die. And I wrote ‘Hysteria’ up there.” That new song, with its woozy guitar fanfare, captures mid-flight queasiness well, as Vile daydreams about escaping the flight: “Stop this plane ‘cause I wanna get off,” he sings. “Pull over somewhere on the side of a cloud.”

Bottle It In is about place only insofar as it is about the people in those places: friends and family, bandmates and music heroes, colleagues and collaborators. There’s a lot of love in these big-hearted songs, a lot of warmth toward everyone in Vile’s orbit and even toward those whose paths he’s yet to cross. “Loved you all a long, long while,” he sings on “One-Trick Ponies.” “Looked down into a deep dark well, called all of your names.” The jangly country-rock tune serves as a valentine to… he won’t say, but he and Mozgawa and Farmer Dave Scher deliver a beautifully sympathetic sing-along chorus that invites every one of us one-trick ponies to join in.

 

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. “It’s like that moment on the airplane,” Vile says, “when you’re on your way somewhere and you have that burst of panic. When you’re terrified of dying, that’s when you want people to know you love them.”

Kurt Vile + RVG @ The Gov (ADELAIDE)

April 27, 2019
7:30 pm

Mistletone could not be prouder to present the return of the supreme Kurt Vile & the Violators, touring brand new album Bottle It In with special guests RVG. Tickets on sale now!

KURT VILE & THE VIOLATORS TOUR DATES:

  • SYDNEY: Monday 15 April @ Enmore Theatre with RVG. Tickets on sale here.
  • WOLLONGONG: Tuesday 16 April @ Unibar with RVG. Tickets on sale here.
  • CANBERRA: Wednesday 17 April @ ANU with RVG. Tickets on sale here.
  • BYRON BAY: 18-21 April @ Bluesfest. Tickets on sale now.
  • MELBOURNE: Monday 22 April @ The Forum with RVG. Tickets on sale here.
  • ADELAIDE: Saturday 27 April @ The Gov with RVG. Tickets on sale here.
  • PERTH: Sunday 28 April @ Rosemount Hotel with RVG. Tickets on sale here.

Weeks of speculation come to an end today as details of the new Kurt Vile album can finally be confirmed: One of the most critically and commercially acclaimed artists of the last decade will release Bottle It In on Friday 12 October via Matador Records / Remote Control.

A sprawling new jammer titled ‘Bassackwards’ follows previously released Bottle It In single, ‘Loading Zones’, an ode to the parking challenges in Vile’s native Philadelphia, described alternately as “Vile at his comforting, shaggy best” (The Guardian), and an “ambiguous rumination on small town life” (MOJO). The epic, loping ‘Bassackwards’ is the album’s beating heart and Vile’s most compelling evocation of how he sees the world: “I was on the ground circa Planet Earth, but out of sorts,” he sings over a gently psychedelic bed of backmasked guitars. “But I snapped back, baby, just in time to jot it down.

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 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.”

These journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album b’lieve I’m goin’ down, recorded a duets album with 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.

In April 2017, he trekked out to Indio, California, to catch the Stagecoach Festival and sit in with his friends the Sadies (“my favorite modern band”). Inspired by Willie Nelson’s epic set, Vile spent a few days in Los Angeles working with producer Rob Schnapf at his Mant Sounds studio.  The two had previously worked together on “Pretty Pimpin,” the leadoff track on b’lieve that became a number-one AAA radio hit. Their second collaboration was similarly inspired: Featuring backing vocals from Cass McCombs, the eleven-minute title track is full of ominous bass rumbles, hazy-steady drumbeats from Warpaint’s Stella Mozgawa, delicate harp stabs from Mary Lattimore, and what sounds like chewy distortion leaking out of a David Lynch flick.

Months later, when a lengthy Violators tour ended in Salt Lake City, Vile let the momentum carry him further west, where he recorded several more songs with engineer/producer Shawn Everett (Alabama Shakes, the War on Drugs) at The Beer Hole in Los Angeles.  Other songs were put to tape during sojourns to Portland, Oregon, and to Greenpoint, Brooklyn, where fellow Violator Rob Laakso co-produced. The bulk of Bottle It In was bottled up at Tarquin Studios in Bridgeport, Connecticut, with Peter Katis (Interpol, the National) engineering and producing. Bottle It In captures the spontaneity of these impromptu sessions, revealing Vile as a diligent and singularly determined musician.
 
These recordings are the destinations, but the journeys were just as important, whether they gave him time with his wife and kids or an opportunity to get some writing done. “For a while I was terrified of flying, so I would be listening to whatever country songs I was obsessed with. I’d have George Jones blasting in my ears. Or, I would be reading something about country music. Or, I would start writing songs in that flash of being afraid, being swallowed by life. I’m up there on a plane drinking wine because like everybody else I’m afraid to die. And I wrote ‘Hysteria’ up there.” That new song, with its woozy guitar fanfare, captures mid-flight queasiness well, as Vile daydreams about escaping the flight: “Stop this plane ‘cause I wanna get off,” he sings. “Pull over somewhere on the side of a cloud.”

Bottle It In is about place only insofar as it is about the people in those places: friends and family, bandmates and music heroes, colleagues and collaborators. There’s a lot of love in these big-hearted songs, a lot of warmth toward everyone in Vile’s orbit and even toward those whose paths he’s yet to cross. “Loved you all a long, long while,” he sings on “One-Trick Ponies.” “Looked down into a deep dark well, called all of your names.” The jangly country-rock tune serves as a valentine to… he won’t say, but he and Mozgawa and Farmer Dave Scher deliver a beautifully sympathetic sing-along chorus that invites every one of us one-trick ponies to join in.

 

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. “It’s like that moment on the airplane,” Vile says, “when you’re on your way somewhere and you have that burst of panic. When you’re terrified of dying, that’s when you want people to know you love them.”

Kurt Vile + RVG @ The Forum (MELBOURNE)

April 22, 2019
7:30 pm

Mistletone could not be prouder to present the return of the supreme Kurt Vile & the Violators, touring brand new album Bottle It In with special guests RVG. Tickets on sale now!

KURT VILE & THE VIOLATORS TOUR DATES:

  • SYDNEY: Monday 15 April @ Enmore Theatre with RVG. Tickets on sale here.
  • WOLLONGONG: Tuesday 16 April @ Unibar with RVG. Tickets on sale here.
  • CANBERRA: Wednesday 17 April @ ANU with RVG. Tickets on sale here.
  • BYRON BAY: 18-21 April @ Bluesfest. Tickets on sale now.
  • MELBOURNE: Monday 22 April @ The Forum with RVG. Tickets on sale here.
  • ADELAIDE: Saturday 27 April @ The Gov with RVG. Tickets on sale here.
  • PERTH: Sunday 28 April @ Rosemount Hotel with RVG. Tickets on sale here.

Weeks of speculation come to an end today as details of the new Kurt Vile album can finally be confirmed: One of the most critically and commercially acclaimed artists of the last decade will release Bottle It In on Friday 12 October via Matador Records / Remote Control.

A sprawling new jammer titled ‘Bassackwards’ follows previously released Bottle It In single, ‘Loading Zones’, an ode to the parking challenges in Vile’s native Philadelphia, described alternately as “Vile at his comforting, shaggy best” (The Guardian), and an “ambiguous rumination on small town life” (MOJO). The epic, loping ‘Bassackwards’ is the album’s beating heart and Vile’s most compelling evocation of how he sees the world: “I was on the ground circa Planet Earth, but out of sorts,” he sings over a gently psychedelic bed of backmasked guitars. “But I snapped back, baby, just in time to jot it down.

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 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.”

These journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album b’lieve I’m goin’ down, recorded a duets album with 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.

In April 2017, he trekked out to Indio, California, to catch the Stagecoach Festival and sit in with his friends the Sadies (“my favorite modern band”). Inspired by Willie Nelson’s epic set, Vile spent a few days in Los Angeles working with producer Rob Schnapf at his Mant Sounds studio.  The two had previously worked together on “Pretty Pimpin,” the leadoff track on b’lieve that became a number-one AAA radio hit. Their second collaboration was similarly inspired: Featuring backing vocals from Cass McCombs, the eleven-minute title track is full of ominous bass rumbles, hazy-steady drumbeats from Warpaint’s Stella Mozgawa, delicate harp stabs from Mary Lattimore, and what sounds like chewy distortion leaking out of a David Lynch flick.

Months later, when a lengthy Violators tour ended in Salt Lake City, Vile let the momentum carry him further west, where he recorded several more songs with engineer/producer Shawn Everett (Alabama Shakes, the War on Drugs) at The Beer Hole in Los Angeles.  Other songs were put to tape during sojourns to Portland, Oregon, and to Greenpoint, Brooklyn, where fellow Violator Rob Laakso co-produced. The bulk of Bottle It In was bottled up at Tarquin Studios in Bridgeport, Connecticut, with Peter Katis (Interpol, the National) engineering and producing. Bottle It In captures the spontaneity of these impromptu sessions, revealing Vile as a diligent and singularly determined musician.
 
These recordings are the destinations, but the journeys were just as important, whether they gave him time with his wife and kids or an opportunity to get some writing done. “For a while I was terrified of flying, so I would be listening to whatever country songs I was obsessed with. I’d have George Jones blasting in my ears. Or, I would be reading something about country music. Or, I would start writing songs in that flash of being afraid, being swallowed by life. I’m up there on a plane drinking wine because like everybody else I’m afraid to die. And I wrote ‘Hysteria’ up there.” That new song, with its woozy guitar fanfare, captures mid-flight queasiness well, as Vile daydreams about escaping the flight: “Stop this plane ‘cause I wanna get off,” he sings. “Pull over somewhere on the side of a cloud.”

Bottle It In is about place only insofar as it is about the people in those places: friends and family, bandmates and music heroes, colleagues and collaborators. There’s a lot of love in these big-hearted songs, a lot of warmth toward everyone in Vile’s orbit and even toward those whose paths he’s yet to cross. “Loved you all a long, long while,” he sings on “One-Trick Ponies.” “Looked down into a deep dark well, called all of your names.” The jangly country-rock tune serves as a valentine to… he won’t say, but he and Mozgawa and Farmer Dave Scher deliver a beautifully sympathetic sing-along chorus that invites every one of us one-trick ponies to join in.

 

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. “It’s like that moment on the airplane,” Vile says, “when you’re on your way somewhere and you have that burst of panic. When you’re terrified of dying, that’s when you want people to know you love them.”

Kurt Vile @ Bluesfest (BYRON BAY)

April 18, 2019
12:00 pm

KURT VILE & THE VIOLATORS TOUR DATES:

  • April 18-21: BYRON BAY BLUESFEST. Tickets on sale now.
  • & more to be announced!

Mistletone could not be prouder to present the return of the supreme Kurt Vile & the Violators, making their Bluesfest debut this Easter. Watch this space for more!

Kurt Vile + RVG @ Unibar (WOLLONGONG)

April 16, 2019
8:00 pm

Mistletone could not be prouder to present the return of the supreme Kurt Vile & the Violators, touring brand new album Bottle It In with special guests RVG. Tickets on sale now!

KURT VILE & THE VIOLATORS TOUR DATES:

  • SYDNEY: Monday 15 April @ Enmore Theatre with RVG. Tickets on sale here.
  • WOLLONGONG: Tuesday 16 April @ Unibar with RVG. Tickets on sale here.
  • CANBERRA: Wednesday 17 April @ ANU with RVG. Tickets on sale here.
  • BYRON BAY: 18-21 April @ Bluesfest. Tickets on sale now.
  • MELBOURNE: Monday 22 April @ The Forum with RVG. Tickets on sale here.
  • ADELAIDE: Saturday 27 April @ The Gov with RVG. Tickets on sale here.
  • PERTH: Sunday 28 April @ Rosemount Hotel with RVG. Tickets on sale here.

Weeks of speculation come to an end today as details of the new Kurt Vile album can finally be confirmed: One of the most critically and commercially acclaimed artists of the last decade will release Bottle It In on Friday 12 October via Matador Records / Remote Control.

A sprawling new jammer titled ‘Bassackwards’ follows previously released Bottle It In single, ‘Loading Zones’, an ode to the parking challenges in Vile’s native Philadelphia, described alternately as “Vile at his comforting, shaggy best” (The Guardian), and an “ambiguous rumination on small town life” (MOJO). The epic, loping ‘Bassackwards’ is the album’s beating heart and Vile’s most compelling evocation of how he sees the world: “I was on the ground circa Planet Earth, but out of sorts,” he sings over a gently psychedelic bed of backmasked guitars. “But I snapped back, baby, just in time to jot it down.

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 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.”

These journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album b’lieve I’m goin’ down, recorded a duets album with 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.

In April 2017, he trekked out to Indio, California, to catch the Stagecoach Festival and sit in with his friends the Sadies (“my favorite modern band”). Inspired by Willie Nelson’s epic set, Vile spent a few days in Los Angeles working with producer Rob Schnapf at his Mant Sounds studio.  The two had previously worked together on “Pretty Pimpin,” the leadoff track on b’lieve that became a number-one AAA radio hit. Their second collaboration was similarly inspired: Featuring backing vocals from Cass McCombs, the eleven-minute title track is full of ominous bass rumbles, hazy-steady drumbeats from Warpaint’s Stella Mozgawa, delicate harp stabs from Mary Lattimore, and what sounds like chewy distortion leaking out of a David Lynch flick.

Months later, when a lengthy Violators tour ended in Salt Lake City, Vile let the momentum carry him further west, where he recorded several more songs with engineer/producer Shawn Everett (Alabama Shakes, the War on Drugs) at The Beer Hole in Los Angeles.  Other songs were put to tape during sojourns to Portland, Oregon, and to Greenpoint, Brooklyn, where fellow Violator Rob Laakso co-produced. The bulk of Bottle It In was bottled up at Tarquin Studios in Bridgeport, Connecticut, with Peter Katis (Interpol, the National) engineering and producing. Bottle It In captures the spontaneity of these impromptu sessions, revealing Vile as a diligent and singularly determined musician.
 
These recordings are the destinations, but the journeys were just as important, whether they gave him time with his wife and kids or an opportunity to get some writing done. “For a while I was terrified of flying, so I would be listening to whatever country songs I was obsessed with. I’d have George Jones blasting in my ears. Or, I would be reading something about country music. Or, I would start writing songs in that flash of being afraid, being swallowed by life. I’m up there on a plane drinking wine because like everybody else I’m afraid to die. And I wrote ‘Hysteria’ up there.” That new song, with its woozy guitar fanfare, captures mid-flight queasiness well, as Vile daydreams about escaping the flight: “Stop this plane ‘cause I wanna get off,” he sings. “Pull over somewhere on the side of a cloud.”

Bottle It In is about place only insofar as it is about the people in those places: friends and family, bandmates and music heroes, colleagues and collaborators. There’s a lot of love in these big-hearted songs, a lot of warmth toward everyone in Vile’s orbit and even toward those whose paths he’s yet to cross. “Loved you all a long, long while,” he sings on “One-Trick Ponies.” “Looked down into a deep dark well, called all of your names.” The jangly country-rock tune serves as a valentine to… he won’t say, but he and Mozgawa and Farmer Dave Scher deliver a beautifully sympathetic sing-along chorus that invites every one of us one-trick ponies to join in.

 

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. “It’s like that moment on the airplane,” Vile says, “when you’re on your way somewhere and you have that burst of panic. When you’re terrified of dying, that’s when you want people to know you love them.”

Kurt Vile + RVG @ ANU (Canberra)

April 16, 2019
8:00 pm

Mistletone could not be prouder to present the return of the supreme Kurt Vile & the Violators, touring brand new album Bottle It In with special guests RVG. Tickets on sale now!

KURT VILE & THE VIOLATORS TOUR DATES:

  • SYDNEY: Monday 15 April @ Enmore Theatre with RVG. Tickets on sale here.
  • WOLLONGONG: Tuesday 16 April @ Unibar with RVG. Tickets on sale here.
  • CANBERRA: Wednesday 17 April @ ANU with RVG. Tickets on sale here.
  • BYRON BAY: 18-21 April @ Bluesfest. Tickets on sale now.
  • MELBOURNE: Monday 22 April @ The Forum with RVG. Tickets on sale here.
  • ADELAIDE: Saturday 27 April @ The Gov with RVG. Tickets on sale here.
  • PERTH: Sunday 28 April @ Rosemount Hotel with RVG. Tickets on sale here.

Weeks of speculation come to an end today as details of the new Kurt Vile album can finally be confirmed: One of the most critically and commercially acclaimed artists of the last decade will release Bottle It In on Friday 12 October via Matador Records / Remote Control.

A sprawling new jammer titled ‘Bassackwards’ follows previously released Bottle It In single, ‘Loading Zones’, an ode to the parking challenges in Vile’s native Philadelphia, described alternately as “Vile at his comforting, shaggy best” (The Guardian), and an “ambiguous rumination on small town life” (MOJO). The epic, loping ‘Bassackwards’ is the album’s beating heart and Vile’s most compelling evocation of how he sees the world: “I was on the ground circa Planet Earth, but out of sorts,” he sings over a gently psychedelic bed of backmasked guitars. “But I snapped back, baby, just in time to jot it down.

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 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.”

These journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album b’lieve I’m goin’ down, recorded a duets album with 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.

In April 2017, he trekked out to Indio, California, to catch the Stagecoach Festival and sit in with his friends the Sadies (“my favorite modern band”). Inspired by Willie Nelson’s epic set, Vile spent a few days in Los Angeles working with producer Rob Schnapf at his Mant Sounds studio.  The two had previously worked together on “Pretty Pimpin,” the leadoff track on b’lieve that became a number-one AAA radio hit. Their second collaboration was similarly inspired: Featuring backing vocals from Cass McCombs, the eleven-minute title track is full of ominous bass rumbles, hazy-steady drumbeats from Warpaint’s Stella Mozgawa, delicate harp stabs from Mary Lattimore, and what sounds like chewy distortion leaking out of a David Lynch flick.

Months later, when a lengthy Violators tour ended in Salt Lake City, Vile let the momentum carry him further west, where he recorded several more songs with engineer/producer Shawn Everett (Alabama Shakes, the War on Drugs) at The Beer Hole in Los Angeles.  Other songs were put to tape during sojourns to Portland, Oregon, and to Greenpoint, Brooklyn, where fellow Violator Rob Laakso co-produced. The bulk of Bottle It In was bottled up at Tarquin Studios in Bridgeport, Connecticut, with Peter Katis (Interpol, the National) engineering and producing. Bottle It In captures the spontaneity of these impromptu sessions, revealing Vile as a diligent and singularly determined musician.
 
These recordings are the destinations, but the journeys were just as important, whether they gave him time with his wife and kids or an opportunity to get some writing done. “For a while I was terrified of flying, so I would be listening to whatever country songs I was obsessed with. I’d have George Jones blasting in my ears. Or, I would be reading something about country music. Or, I would start writing songs in that flash of being afraid, being swallowed by life. I’m up there on a plane drinking wine because like everybody else I’m afraid to die. And I wrote ‘Hysteria’ up there.” That new song, with its woozy guitar fanfare, captures mid-flight queasiness well, as Vile daydreams about escaping the flight: “Stop this plane ‘cause I wanna get off,” he sings. “Pull over somewhere on the side of a cloud.”

Bottle It In is about place only insofar as it is about the people in those places: friends and family, bandmates and music heroes, colleagues and collaborators. There’s a lot of love in these big-hearted songs, a lot of warmth toward everyone in Vile’s orbit and even toward those whose paths he’s yet to cross. “Loved you all a long, long while,” he sings on “One-Trick Ponies.” “Looked down into a deep dark well, called all of your names.” The jangly country-rock tune serves as a valentine to… he won’t say, but he and Mozgawa and Farmer Dave Scher deliver a beautifully sympathetic sing-along chorus that invites every one of us one-trick ponies to join in.

 

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. “It’s like that moment on the airplane,” Vile says, “when you’re on your way somewhere and you have that burst of panic. When you’re terrified of dying, that’s when you want people to know you love them.”

Kurt Vile + RVG @ Enmore (SYDNEY)

April 15, 2019
7:30 pm

Mistletone could not be prouder to present the return of the supreme Kurt Vile & the Violators, touring brand new album Bottle It In with special guests RVG. Tickets on sale now!

KURT VILE & THE VIOLATORS TOUR DATES:

  • SYDNEY: Monday 15 April @ Enmore Theatre with RVG. Tickets on sale here.
  • WOLLONGONG: Tuesday 16 April @ Unibar with RVG. Tickets on sale here.
  • CANBERRA: Wednesday 17 April @ ANU with RVG. Tickets on sale here.
  • BYRON BAY: 18-21 April @ Bluesfest. Tickets on sale now.
  • MELBOURNE: Monday 22 April @ The Forum with RVG. Tickets on sale here.
  • ADELAIDE: Saturday 27 April @ The Gov with RVG. Tickets on sale here.
  • PERTH: Sunday 28 April @ Rosemount Hotel with RVG. Tickets on sale here.

Weeks of speculation come to an end today as details of the new Kurt Vile album can finally be confirmed: One of the most critically and commercially acclaimed artists of the last decade will release Bottle It In on Friday 12 October via Matador Records / Remote Control.

A sprawling new jammer titled ‘Bassackwards’ follows previously released Bottle It In single, ‘Loading Zones’, an ode to the parking challenges in Vile’s native Philadelphia, described alternately as “Vile at his comforting, shaggy best” (The Guardian), and an “ambiguous rumination on small town life” (MOJO). The epic, loping ‘Bassackwards’ is the album’s beating heart and Vile’s most compelling evocation of how he sees the world: “I was on the ground circa Planet Earth, but out of sorts,” he sings over a gently psychedelic bed of backmasked guitars. “But I snapped back, baby, just in time to jot it down.

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 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.”

These journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album b’lieve I’m goin’ down, recorded a duets album with 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.

In April 2017, he trekked out to Indio, California, to catch the Stagecoach Festival and sit in with his friends the Sadies (“my favorite modern band”). Inspired by Willie Nelson’s epic set, Vile spent a few days in Los Angeles working with producer Rob Schnapf at his Mant Sounds studio.  The two had previously worked together on “Pretty Pimpin,” the leadoff track on b’lieve that became a number-one AAA radio hit. Their second collaboration was similarly inspired: Featuring backing vocals from Cass McCombs, the eleven-minute title track is full of ominous bass rumbles, hazy-steady drumbeats from Warpaint’s Stella Mozgawa, delicate harp stabs from Mary Lattimore, and what sounds like chewy distortion leaking out of a David Lynch flick.

Months later, when a lengthy Violators tour ended in Salt Lake City, Vile let the momentum carry him further west, where he recorded several more songs with engineer/producer Shawn Everett (Alabama Shakes, the War on Drugs) at The Beer Hole in Los Angeles.  Other songs were put to tape during sojourns to Portland, Oregon, and to Greenpoint, Brooklyn, where fellow Violator Rob Laakso co-produced. The bulk of Bottle It In was bottled up at Tarquin Studios in Bridgeport, Connecticut, with Peter Katis (Interpol, the National) engineering and producing. Bottle It In captures the spontaneity of these impromptu sessions, revealing Vile as a diligent and singularly determined musician.
 
These recordings are the destinations, but the journeys were just as important, whether they gave him time with his wife and kids or an opportunity to get some writing done. “For a while I was terrified of flying, so I would be listening to whatever country songs I was obsessed with. I’d have George Jones blasting in my ears. Or, I would be reading something about country music. Or, I would start writing songs in that flash of being afraid, being swallowed by life. I’m up there on a plane drinking wine because like everybody else I’m afraid to die. And I wrote ‘Hysteria’ up there.” That new song, with its woozy guitar fanfare, captures mid-flight queasiness well, as Vile daydreams about escaping the flight: “Stop this plane ‘cause I wanna get off,” he sings. “Pull over somewhere on the side of a cloud.”

Bottle It In is about place only insofar as it is about the people in those places: friends and family, bandmates and music heroes, colleagues and collaborators. There’s a lot of love in these big-hearted songs, a lot of warmth toward everyone in Vile’s orbit and even toward those whose paths he’s yet to cross. “Loved you all a long, long while,” he sings on “One-Trick Ponies.” “Looked down into a deep dark well, called all of your names.” The jangly country-rock tune serves as a valentine to… he won’t say, but he and Mozgawa and Farmer Dave Scher deliver a beautifully sympathetic sing-along chorus that invites every one of us one-trick ponies to join in.

 

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. “It’s like that moment on the airplane,” Vile says, “when you’re on your way somewhere and you have that burst of panic. When you’re terrified of dying, that’s when you want people to know you love them.”

Beach House @ Golden Plains (VICTORIA)

March 9, 2019
8:00 pm

Mistletone very proudly presents Beach House‘s Australian tour 2019.

BEACH HOUSE TOUR DATES:

  • PERTH: Thu February 28 @ Perth Festival. Tickets & info here.
  • MEREDITH: Sat March 9 @ Golden Plains Festival. Tickets & info here.
  • watch this space for more…

To quote Aunty Meredith’s Golden Plains announcement;

“Time and Place.

Saturday night, just on dark, GP Thirteen, as an expectant Sup’ swells in eucalyptic, festooned anticipation.

It was late at night
You held on tight
From an empty seat
A flash of light

Perfect Time and Place. And Space.

Beach House have entered the pantheon of great dream pop acts. More recently, that dream has woken into epic soundscapes: cinematic, shoegazey, loud and dramatic. They’ve represented a high water mark for so many music-lovers for a long time now (77 songs to be exact) and recent albums, 7 and Depression Cherry, have lifted us higher still.

Fall… back… in… to… place

Perfect.”

  •  “Beach House are special, maybe even one of a kind – undeniably, consistently brilliant” – Noisey
  • “A radical blast of psychedelic pop bliss” – Rolling Stone

Beach House (Victoria Legrand and Alex Scally, with drummer James Barone) bring their overwhelming, cinematic live show back to Australia next summer.

Beach House last toured Australia in 2016, with a Sydney Opera House show described by The Music as “testament to the band’s enduring commitment to creating unforgettable sonic experiences”. At once intimate and cosmic, Beach House explode onto the stage with glorious finesse and grandeur, bringing their adored songbook to kaleidoscopic life.

Beach House released 7 (their 7th full-length record) on Mistletone (Australia) and Sub Pop (worldwide). They have been a band for over 13 years and have written and released a total of 77 songs together. Mail order 7 and other Beach House goodies here.

The creation of 7 involved rebirth and rejuvenation; Scally and Legrand used to limit themselves to what they thought they could perform live, but this time that limitation was ignored. Unlike the last four albums, 7 didn’t have a producer in the traditional sense. Spacemen 3’s Sonic Boom (Peter Kember) became a significant force on this record by shedding conventions and helping to keep the songs alive and fresh. The band’s trusted live drummer from 2016 to the present, James Barone, played on the entire record, helping to keep rhythm at the centre of a lot of these songs.

In the band’s own words, “we are interested by the human mind’s (and nature’s) tendency to create forces equal and opposite to those present. Thematically, this record often deals with the beauty that arises in dealing with darkness; the empathy and love that grows from collective trauma; the place one reaches when they accept rather than deny. The twisted double edge of glamour, with its perils and perfect moments, was an endless source.

The number 7 does represent some interesting connections in numerology. 1 and 7 have always shared a common look, so 7 feels like the perfect step in the sequence to act as a restart. Most early religions also had a fascination with 7 as being the highest level of spirituality, as in ‘Seventh Heaven.’ At our best creative moments, we felt we were channeling some kind of heavy truth, and we sincerely hope the listeners will feel that.”

Beach House @ Perth Festival (PERTH)

February 28, 2019
8:00 pm

Mistletone very proudly presents Beach House‘s Australian tour 2019.

BEACH HOUSE TOUR DATES:

  • PERTH: Thu February 28 @ Perth Festival. Tickets & info here.
  • MEREDITH: Sat March 9 @ Golden Plains Festival. Tickets & info here.
  • watch this space for more…

To quote Aunty Meredith’s Golden Plains announcement;

“Time and Place.

Saturday night, just on dark, GP Thirteen, as an expectant Sup’ swells in eucalyptic, festooned anticipation.

It was late at night
You held on tight
From an empty seat
A flash of light

Perfect Time and Place. And Space.

Beach House have entered the pantheon of great dream pop acts. More recently, that dream has woken into epic soundscapes: cinematic, shoegazey, loud and dramatic. They’ve represented a high water mark for so many music-lovers for a long time now (77 songs to be exact) and recent albums, 7 and Depression Cherry, have lifted us higher still.

Fall… back… in… to… place

Perfect.”

  •  “Beach House are special, maybe even one of a kind – undeniably, consistently brilliant” – Noisey
  • “A radical blast of psychedelic pop bliss” – Rolling Stone

Beach House (Victoria Legrand and Alex Scally, with drummer James Barone) bring their overwhelming, cinematic live show back to Australia next summer.

Beach House last toured Australia in 2016, with a Sydney Opera House show described by The Music as “testament to the band’s enduring commitment to creating unforgettable sonic experiences”. At once intimate and cosmic, Beach House explode onto the stage with glorious finesse and grandeur, bringing their adored songbook to kaleidoscopic life.

Beach House released 7 (their 7th full-length record) on Mistletone (Australia) and Sub Pop (worldwide). They have been a band for over 13 years and have written and released a total of 77 songs together. Mail order 7 and other Beach House goodies here.

The creation of 7 involved rebirth and rejuvenation; Scally and Legrand used to limit themselves to what they thought they could perform live, but this time that limitation was ignored. Unlike the last four albums, 7 didn’t have a producer in the traditional sense. Spacemen 3’s Sonic Boom (Peter Kember) became a significant force on this record by shedding conventions and helping to keep the songs alive and fresh. The band’s trusted live drummer from 2016 to the present, James Barone, played on the entire record, helping to keep rhythm at the centre of a lot of these songs.

In the band’s own words, “we are interested by the human mind’s (and nature’s) tendency to create forces equal and opposite to those present. Thematically, this record often deals with the beauty that arises in dealing with darkness; the empathy and love that grows from collective trauma; the place one reaches when they accept rather than deny. The twisted double edge of glamour, with its perils and perfect moments, was an endless source.

The number 7 does represent some interesting connections in numerology. 1 and 7 have always shared a common look, so 7 feels like the perfect step in the sequence to act as a restart. Most early religions also had a fascination with 7 as being the highest level of spirituality, as in ‘Seventh Heaven.’ At our best creative moments, we felt we were channeling some kind of heavy truth, and we sincerely hope the listeners will feel that.”

Parquet Courts @ Laneway Festival (FREMANTLE)

February 10, 2019
12:00 pm

PARQUET COURTS TOUR DATES:

  • AUCKLAND: Monday, 28th January @ Albert Park. Tickets: Official Website
  • BRISBANE: Saturday, 2nd February @ Brisbane Showgrounds. Tickets: Official Website
  • SYDNEY: Sunday, 3rd February @ SCA and Callan Park. Tickets: Official Website
    ADELAIDE: Friday, 8th February @ Hart’s Mill, Port Adelaide. Tickets: Official Website
  • MELBOURNE: Saturday, 9th February @ Footscray Park. Tickets: Official Website
  • FREMANTLE: Sunday, 10th February @ Esplanade Reserve and West End. Tickets: Official Website

 

Mistletone is rapt to present the return of Parquet Courts to Laneway Festival 2019. Watch this space for more!