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Kurt Vile is the mystic guitar par excellence of the indie-rock generation. He is the heir to the legendary legacy of the Meat Puppets, John Fahey and J. Mascis, telling his sneaky epiphanies with the languishing equanimity of a buddy for life. Vile also has the gift of minimizing his thrills with a sad side of Neil Young, dating back to around 1974, which keeps his traffic on the ground and gives his albums a biting relatability in these less than optimistic times. Vile's latest album has its most tasty game and its deepest writing. It follows his fantastic collaboration with singer-songwriter wiz Courtney Barnett, Lotta Sea Lice, in 2017, and suggests that he is in the midst of a true artistic role.
"Loading Zones" sets the tone from the start, with Vile's exquisite finger selection and the Frampton-meets-Future dialog box, accompanying amusing lyrics about her ability to find a free parking; the loading areas in question are not a triumphant metaphor, they are real loading areas This song, along with others, is imbued with the realism of Joe Walsh-ian everydude. Even when he's singing "girl, you give me rage and I do not mean maybe" over a cluttered drum machine and an acoustic hum, it looks like he's going to break a smile at the end of each verse. "Rolling With the Flow" is a level-A rock-soft-grade philosophy, where Vile plays the role of the outlaw: "The guys of my age who raise children, I lift my hell as I l & # 39; I did it. " And the fast, sunny Bones "offer," when no one calls you on the phone, do not break the skin on. "
The most intense moment of the laser show is "Bassackwards", ten minutes of wonder in the space that makes Meat Puppets happy. the The sopranos have done for Goodfellas – find level after level of emotional, psychological and aesthetic nuances and intrigues in the eternal appeal of transcendent noodles. Vile sings about getting out of his mind and passing his friend's radio show ("was not a format because, well, we like it like that"); he wanders from the beach to a bay and digs a sunset; he rubs on the grass with a very different mind; he is uncomfortable but he comes; he scratches some Chet Atkins. Loopy's synths are inflamed, bassist Jesse Trbovich explores the melody and drummer Kyle Spence is so immersed in the Zen minimalist pocket that he can access permanent resident status.
The mood darkens a bit as the album progresses, but introspection is welcome and often touching. The title song is a lonely guy people with tired and delicate eyes. "Mutinies" makes lyrics about the uselessness of relying on antidepressants and hating smartphones rather than a very slow acoustic silhouette, before arriving at the cosmic verse: "Jupiter and Saturn / I think I notice a pattern. "" Come Again "sounds like a great session between John Fahey and Lindsey Buckingham.
The weirdest thing here, "Skinny Mini", could also be the brightest. It's another epic ten minutes. His guitar trailed like a stoned snail, interrupted by industrial, ugly, snobbish clatter of industrial noises, smeared neon sign, a sign of ambient bullshit and wah-wah wallowing. Vile sings about global warming and gives the impression of drowning in the mud, as well as the character of a woman in freedom who soothes her worried mind in the midst of all this struggle and conflict. He is in this chick; maybe a little too much in it. The more he sings for her, the more hippie is absurd and vaguely scary, her hippie Valentines begins to ring: "It's a skinny, small and rebellious little person, who speaks well, it always means well, baby Jive is talking, walk fast, girl, "he suggested, before noticing that any sensible man would want to" roll her in a balloon and eat it in a sandwich. "The cumulative effect seems close to that of Randy Neman's parody of a sensitive mustache The seventies like to offer more than the real thing, and that's exactly why Vile is so unique in his own bag, he does not just update the rocky heritage, he turns them upside down.
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