Kurt Vile and The Violators

Kurt Vile has a way of tying time in knots. You can hear it on his new album Smoke Ring For My Halo from the get-go – the pinwheeling guitars and reaching atmospheres of ‘Baby’s Arms’ are as strange as they are familiar: a demonstration of how Kurt can put worn methods and sounds through himself and end up with something that isn’t emotionally or sonically obvious. Instead we’re left with a record that contains traces of the past but doesn’t waste precious time in the now being reverent.

Once compared to Leonard Cohen, Tom Petty, Psychic TV, and Animal Collective in the same review (for 2009’s Childish Prodigy), Kurt can bring to mind anything from Suicide to Leo Kottke to My Bloody Valentine, Bob Seger, Nick Drake, and Eastern ragas. Still, he pieces together these disparate elements so seamlessly and unpretentiously that such reference points are rendered pointless by the singularity of his sound. Kurt Vile might belong to a long lineage of classic American songwriters, but he’s the only one who’s alive and in his prime today.

This is the fourth time Kurt Vile has put an album’s worth of songs together and stuck a name on it, but in a sense Smoke Ring For My Halo is his first real album – every flinching guitar arpeggio and vocal wander was made to be here, made with this record in mind, to sit alongside another in situ and in sequence. It seems weird saying this given the amount of ground he’s covered already, but Smoke Ring For My Halo is the perfect way into the music Kurt Vile makes. It’s tender and evocative, elusive but companionable, tough in the gut and the arm but swollen in the chest and giddy in the head. It’s a record that is perfect for any given day during whatever season, to satisfy all moods in every possible scenario – be that first thing in the morning or last thing at night; today, tomorrow or five years from now.

In short, it’s real. Kurt Vile isn’t just the loneliest of ten siblings born to parents on the outskirts of Philadelphia, the former forklift truck driver who makes rock band guitar songs in the solitude of his bedroom. Smoke Ring For My Halo brings all of that together, marrying the introspection of the nocturnal stoner with the exploration of a troubadour frontiersman to arrive at a record you know is so much more than the sum of his and its constituent parts because often he sounds like he doesn’t know how he got there himself.

Produced by John Agnello with Kurt Vile and the Violators

The Violators are Mike Zanghi (drums), Adam Granduciel (guitar, mellotron, percussion), Jesse Trbovich (guitars)

Beach Fossils began in 2009 as the solo project of Dustin Payseur. Before and after the 2010 release of the S/T debut LP and 2011's What A Pleasure EP, they performed around the world with a lineup that once featured Cole Smith (DIIV) and John Peña (Heavenly Beat). They quickly became known for their highly energetic stage show, bringing the recorded work to a volume and tempo that would make even the indie-est of crowds wind up in a frenzy. With the exception of drummer Tommy Gardner, that lineup dissolved to pursue their ambitions with the aforementioned projects. Wanting to bridge the gap between the live and recorded aspects of the band, Dustin began writing Clash the Truth determined to capture the urgency, human flow and spontaneity of the live performance.

Now with a full time drummer (and co-writer of two tracks on the LP) Beach Fossils entered the studio in the fall of 2012 with producer Ben Greenberg of The Men. Instead of merely going from a "bedroom DiY" project to a "better fidelity studio project" the deliberate decision to work with Ben was determined to capture, if not in style, the spirit and enthusiasm of punk and aggressive music in general. To ensure that dynamic, the drums were recorded live in a room with Dustin on bass to give the album a driving and energetic force. Consider the titles "Generational Synthetic," "Caustic Cross" and "Burn You Down," it's easy to see how the record, while not a punk or post-punk record by strict definition, certainly nods to the first major influence of Dustin's creative spark. The first two notes of the title track that kick the LP off are a clear indicator of where his head was at.

The LP also sees Dustin stretching his songwriting muscles, with the acoustic Lennon-esque "Sleep Apnea" and the dreamy "In Vertigo", which features the vocals of Kazu Makino (Blonde Redhead). During the recording period, the studio was flooded and destroyed by hurricane Sandy and the band had to relocate to another studio to finish the LP in earnest. It all came together when the work of legendary video artist Peter Campus was finalized to be featured throughout the release and on the striking cover. Clash the Truth marks a clear progression in the ongoing story of Beach Fossils. Drawing from the previous works' melodic strengths and uncanny guitar textures emboldened by a sound closer to their energetic and cathartic live set, it's the clear next step in the trajectory of the band and the dis-association from the home-recording boom from which it originated.

V B A is a band. Vince Bentley and Ashley are in that band. They play drums and guitars and bass and music like a blind poet's lucid dream of paganblack candles over a deathonic dim sea.

$17.00

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Social Pre-game: $3.50 U-call-it for the first hour. Includes everything, Jack Daniels, Crowne, Greygoose, Fireball, Pinnacle, Knob Creek, Jameson.... anything we carry for the first hour!!!! Beer & Shot: Buy any beer and get any shot for $5 all night.

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Kurt Vile and The Violators with Beach Fossils, VBA

Saturday, November 2 · 6:30 PM at The Social

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