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.”

Connan Mockasin @ The Enmore (SYDNEY)

March 22, 2019
8:15 pm

CONNAN MOCKASIN TOUR DATES

  • BRISBANE – Wednesday March 20 @ The Tivoli. Pre-sale: Tue 11 Dec 10:00am  – Thu 13 Dec  7:00am QLD TIME, here. Presented by Jet Black Cat Music.
  • MELBOURNE – Thursday March 21 @ Melbourne Recital Centre. Pre-sale: Tue 11 Dec 11am AEST – Thu 13 Dec 7am, here.
  • SYDNEY – Friday March 22 @ The Enmore. Pre-sale:  Tue 11 Dec 11am AEST – Thu 13 Dec 7am AEST, here.

Mistletone proudly presents Connan Mockasin bringing the premiere screening of Bostyn ‘n Dobsyn plus Jassbusters live in concert.

Witness the world’s first absurdist drama as Connan Mockasin premieres his film Bostyn ‘n Dobsyn, featuring material from his new concept album Jassbusters, the follow up to 2013’s critically acclaimed album Caramel.

Three fully seated shows on Australia’s east coast will see Connan unveil Jassbusters to the world, an idiosyncratic band of high school music teachers fronted by Mr. Bostyn – the ageing guitarist who plays the starring role in the accompanying film. Connan and his band will round off the night with a live performance.

Connan Mockasin released his first album Forever Dolphin Love in 2010, and has gone on to build a devoted worldwide fan base. He has toured with Radiohead, and has collaborated with the likes of Charlotte Gainsbourg, James Blake and MGMT.

PRAISE FOR JASSBUSTERS:

  • “Career-best” – Uncut (album of the month) 8/10 stars
  •  “Sublime” – Mojo (4/5 stars)
  • It reaffirms Mockasin’s status as the maddest biscuit in the box” – Q Magazine (4/5 stars)
  • “If 2013’s Caramel was a B-, then Jassbusters deserves a big fat red marker pen A”  The Quietus

Jassbusters out now on Mexican Summer via Rocket — http://mexsum.com/Jassbusters

More about Bostyn ‘n Dobsyn and Jassbusters below:

Bostyn ’n Dobsyn

– Bostyn ’n Dobsyn is a five-part melodrama film created by Connan Mockasin.

– Bostyn ’n Dobsyn is about a fictional music teacher, Bostyn, and his student, Dobsyn.

– Mockasin plays Bostyn, while Dobsyn is played by Mockasin’s childhood next door neighbour Blake Pryor.

– Bostyn ’n Dobsyn was filmed inside a disused hair salon in Los Angeles, July 2016.

– Bostyn ’n Dobsyn took 20 years to develop, and 10 days to film.

– Bostyn ’n Dobsyn features Gabriel Diggs from Celebrity Family Feud.

– Bostyn ’n Dobsyn is Connan Mockasin’s first publicly released film.

Jassbusters

– Jassbusters is the third record by Connan Mockasin.

– Jassbusters is the concept of a record made by a band of music teachers, fronted by Bostyn.

– Jassbusters was recorded live in Paris at Studios Ferber, August 2016.

– Jassbusters was recorded less than one month after the filming of Bostyn ’n Dobsyn.

– It was then recorded live again and filmed for the end scenes of Bostyn ’n Dobsyn.

– Jassbusters took one week to record.

– Jassbusters is the first record by Connan Mockasin that was recorded with a band.

– Jassbusters is designed to be listened to after watching Bostyn ’n Dobsyn.

Connan Mockasin @ Melbourne Recital Centre

March 21, 2019
7:30 pm

CONNAN MOCKASIN TOUR DATES

  • BRISBANE – Wednesday March 20 @ The Tivoli. Pre-sale: Tue 11 Dec 10:00am  – Thu 13 Dec  7:00am QLD TIME, here. Presented by Jet Black Cat Music.
  • MELBOURNE – Thursday March 21 @ Melbourne Recital Centre. Pre-sale: Tue 11 Dec 11am AEST – Thu 13 Dec 7am, here.
  • SYDNEY – Friday March 22 @ The Enmore. Pre-sale:  Tue 11 Dec 11am AEST – Thu 13 Dec 7am AEST, here.

Mistletone proudly presents Connan Mockasin bringing the premiere screening of Bostyn ‘n Dobsyn plus Jassbusters live in concert.

Witness the world’s first absurdist drama as Connan Mockasin premieres his film Bostyn ‘n Dobsyn, featuring material from his new concept album Jassbusters, the follow up to 2013’s critically acclaimed album Caramel.

Three fully seated shows on Australia’s east coast will see Connan unveil Jassbusters to the world, an idiosyncratic band of high school music teachers fronted by Mr. Bostyn – the ageing guitarist who plays the starring role in the accompanying film. Connan and his band will round off the night with a live performance.

Connan Mockasin released his first album Forever Dolphin Love in 2010, and has gone on to build a devoted worldwide fan base. He has toured with Radiohead, and has collaborated with the likes of Charlotte Gainsbourg, James Blake and MGMT.

PRAISE FOR JASSBUSTERS:

  • “Career-best” – Uncut (album of the month) 8/10 stars
  •  “Sublime” – Mojo (4/5 stars)
  • It reaffirms Mockasin’s status as the maddest biscuit in the box” – Q Magazine (4/5 stars)
  • “If 2013’s Caramel was a B-, then Jassbusters deserves a big fat red marker pen A”  The Quietus

Jassbusters out now on Mexican Summer via Rocket — http://mexsum.com/Jassbusters

More about Bostyn ‘n Dobsyn and Jassbusters below:

Bostyn ’n Dobsyn

– Bostyn ’n Dobsyn is a five-part melodrama film created by Connan Mockasin.

– Bostyn ’n Dobsyn is about a fictional music teacher, Bostyn, and his student, Dobsyn.

– Mockasin plays Bostyn, while Dobsyn is played by Mockasin’s childhood next door neighbour Blake Pryor.

– Bostyn ’n Dobsyn was filmed inside a disused hair salon in Los Angeles, July 2016.

– Bostyn ’n Dobsyn took 20 years to develop, and 10 days to film.

– Bostyn ’n Dobsyn features Gabriel Diggs from Celebrity Family Feud.

– Bostyn ’n Dobsyn is Connan Mockasin’s first publicly released film.

Jassbusters

– Jassbusters is the third record by Connan Mockasin.

– Jassbusters is the concept of a record made by a band of music teachers, fronted by Bostyn.

– Jassbusters was recorded live in Paris at Studios Ferber, August 2016.

– Jassbusters was recorded less than one month after the filming of Bostyn ’n Dobsyn.

– It was then recorded live again and filmed for the end scenes of Bostyn ’n Dobsyn.

– Jassbusters took one week to record.

– Jassbusters is the first record by Connan Mockasin that was recorded with a band.

– Jassbusters is designed to be listened to after watching Bostyn ’n Dobsyn.

Connan Mockasin @ The Tivoli (BRISBANE)

March 20, 2019
7:30 pm

CONNAN MOCKASIN TOUR DATES

  • BRISBANE – Wednesday March 20 @ The Tivoli. Pre-sale: Tue 11 Dec 10:00am  – Thu 13 Dec  7:00am QLD TIME, here. Presented by Jet Black Cat Music.
  • MELBOURNE – Thursday March 21 @ Melbourne Recital Centre. Pre-sale: Tue 11 Dec 11am AEST – Thu 13 Dec 7am, here.
  • SYDNEY – Friday March 22 @ The Enmore. Pre-sale:  Tue 11 Dec 11am AEST – Thu 13 Dec 7am AEST, here.

Mistletone proudly presents Connan Mockasin bringing the premiere screening of Bostyn ‘n Dobsyn plus Jassbusters live in concert.

Witness the world’s first absurdist drama as Connan Mockasin premieres his film Bostyn ‘n Dobsyn, featuring material from his new concept album Jassbusters, the follow up to 2013’s critically acclaimed album Caramel.

Three fully seated shows on Australia’s east coast will see Connan unveil Jassbusters to the world, an idiosyncratic band of high school music teachers fronted by Mr. Bostyn – the ageing guitarist who plays the starring role in the accompanying film. Connan and his band will round off the night with a live performance.

Connan Mockasin released his first album Forever Dolphin Love in 2010, and has gone on to build a devoted worldwide fan base. He has toured with Radiohead, and has collaborated with the likes of Charlotte Gainsbourg, James Blake and MGMT.

PRAISE FOR JASSBUSTERS:

  • “Career-best” – Uncut (album of the month) 8/10 stars
  •  “Sublime” – Mojo (4/5 stars)
  • It reaffirms Mockasin’s status as the maddest biscuit in the box” – Q Magazine (4/5 stars)
  • “If 2013’s Caramel was a B-, then Jassbusters deserves a big fat red marker pen A”  The Quietus

Jassbusters out now on Mexican Summer via Rocket — http://mexsum.com/Jassbusters

More about Bostyn ‘n Dobsyn and Jassbusters below:

Bostyn ’n Dobsyn

– Bostyn ’n Dobsyn is a five-part melodrama film created by Connan Mockasin.

– Bostyn ’n Dobsyn is about a fictional music teacher, Bostyn, and his student, Dobsyn.

– Mockasin plays Bostyn, while Dobsyn is played by Mockasin’s childhood next door neighbour Blake Pryor.

– Bostyn ’n Dobsyn was filmed inside a disused hair salon in Los Angeles, July 2016.

– Bostyn ’n Dobsyn took 20 years to develop, and 10 days to film.

– Bostyn ’n Dobsyn features Gabriel Diggs from Celebrity Family Feud.

– Bostyn ’n Dobsyn is Connan Mockasin’s first publicly released film.

Jassbusters

– Jassbusters is the third record by Connan Mockasin.

– Jassbusters is the concept of a record made by a band of music teachers, fronted by Bostyn.

– Jassbusters was recorded live in Paris at Studios Ferber, August 2016.

– Jassbusters was recorded less than one month after the filming of Bostyn ’n Dobsyn.

– It was then recorded live again and filmed for the end scenes of Bostyn ’n Dobsyn.

– Jassbusters took one week to record.

– Jassbusters is the first record by Connan Mockasin that was recorded with a band.

– Jassbusters is designed to be listened to after watching Bostyn ’n Dobsyn.