Kurt Vile at Mercy Lounge

by Dave Sharp on Oct 27^th, 2010

Photo Gallery: Kurt Vile and the Violators, Soft Pack and Purling Hiss at Mercy Lounge 10-23-10

How do you create a buzz in the indie world?  Well, to start you could to open for Sonic Youth, Built to Spill, Big Star and Pavement in a 24-month period.

Welcome to the buzzworthy life of Kurt Vile.

Granted, those are the perks of being a part of the Matador Records family, but it was just a few years back Kurt was buying his first Big Star record and carefully planning his Stephen Malkmus-inspired career path.  But, make no mistake, the “Constant Hitmaker” and “Childish Prodigy” earned his spot with awesome displays of guitar virtuosity in poppy, non-pop indie-rock songs.

And thus, a buzz is created. It’s a reverb-filled, 7-minute-plus song called “Freak Train” kind of buzz that only a truly unique artist like Kurt Vile can create.

Sinizine.net sat down with Kurt on a stoop behind Mercy Lounge.  Between swigs of Heineken, he talked influences, record shopping, the blogosphere and discussed the ego behind his two album titles.

Special thanks to Catherine Herrick, Jesse “J-Turbo” and the staff at Mercy Lounge for aiding in the coordination of this interview.

Stage versus studio

SZ: I want to start by going off where our conversation left off before we began rolling.  What’s the difference between the chemistry live and recorded.  You don’t have all the tools live that you do when you’re playing…what’s the difference between what you do and expect live and when you’re recording.

KV: You can’t think too hard about the other one when your doing either one.  You can’t go out there an thinking you got to play your songs exactly like you record it or play along to like a zillion backtracks to make it sound like the recording.  Certain bands do that and that’s cool, but I’m not into that. I’m into being in the moment and having it feel real. You just can’t be a slave. Recording is like painting and in recording you get to sit there and make your masterpiece if you want to try to. Live, you’re delivering real music on the spot to somebody and they’re both equally important.  You said you don’t have the same tools as recording, but then again you just have different tools that’s you don’t have recording when you play live, one of which is adrenaline. That’s a major tool.  It’s a whole punk rock thing.  They also carry over.  Like Neil Young tries to capture the moment on tape when recording.  So, for some people it is one in the same. It depends on what kind of flavor you’re into.  I’m into giving an energetic live show, which doesn’t necessarily mean heavy and punk, but also emotional.  You could play a mellow song and deliver it right.  I’m not saying we do it right every night.

SZ: I’d imagine its different where you’re at each show. I can’t imagine with that kind of approach that any two shows are the same.

KV: Yeah, not exactly the same; but, generally the same.  Same set lists. We used to be looser and to have a set list. But, we started having a set list so we could tighten it up every night. You know, the traveling hippie going to every show may get a little bored, but we don’t have that yet.  They are different every night, but subtly, not over the top different.

SZ: Is that how you guys approach the creative aspect, do you just kind of get together and see where it takes you like a jam band or does someone come in and give the direction.

KV: You definitely see where it takes you.

SZ: Is it a jam band kind of thing?

KV: No, not at all.  I usually come with a song.  Toward the end of this record, when we finally finished all the music – I don’t want to say it was stressful or that I’m complaining – but, the record label kept pushing me to make more music and keep going, which was awesome.  I was like OK, you want me to keep going in the studio? And I kept making it better and better.  Toward the end, I was going in with a song that wasn’t completely done and bringing it to the band and then we would finish it in the studio.  Other times, I have this song that I wrote, that I worked on a long time by myself that I bring to the band.  There aren’t that many cases in my life with the Violators where we all sat and wrote for an extended period and wrote a song together in the rehearsal space.  But, at the same time we’ve done tons of live shows, so I think that the live element has always been important to us.  The songs evolve over time like “Hunchback” and “Freak Train.”

SZ: I’d imagine that, with your diverse music background, when you sit down on your own you can kind of envision where the song’s going to go.

KV: Sure. I’ve always been kind of obsessed with music, so it’s exciting to learn more and get more confident all over the time.  Like, my latest thing has been working with John Agnello who’s working on this next record.  He’s a pro at what he does and he helped me become more pro. But, I also know that I impressed him with my different method that’s kind fly by the seat of your pants.

“Obesssed” or not obsessed

SZ: I’m glad you mentioned the word “obsessed.” In interviews and articles that word comes up a lot.

KV: I know! It’s so funny doing interviews because I almost don’t want to say it anymore, but it just comes out sometimes.

SZ: Did you ever find that Neal Young album Time Fades Away?

KV: Yeah, I get that question all the time and I’ve gotten offers for that record and found three copies of the record since then.  But, the other record I mentioned I didn’t’ get, The Seeds Web of Sound, so hopefully that turns around.

SZ: Is there anything else that you’re digging for right now?

KV: Right now, I’m not digging for anything that I think will be hard to find. We have a tape player in the van, so I’m looking for a Carpenters tape and the second Roxy Music album, which I’m sure I’ll find. I’ve been record shopping for so long and now I know that by the time the tour ends, I’ll find what I want.  I want the Springsteen Box Set, but there will be plenty of those. Oh, Keith Richards’ solo album too.

SZ: You’ve a lot of connection and heritage in country and western music. With your dad’s passion for bluegrass, your development on the banjo and you versatile amount of influences. How does it feel to be in the home of country music?

KV: You know, it feels really awesome.  We have a day off tomorrow, so hopefully we’ll head down to the strip…where do you recommend we go?

SZ: You gotta hit up Broadway, I’d say, because its iconic.  You’ll go to Tootsies Orchid Lounge and all the honkey tonks, but that’s a tourist place that’s a little over-seen.  I’d say, check out East Nashville, just head across the river.  That’s where you’ll find some cool people, cool bars and the more outside crowd.

KV: Nice!

Violating country and western

SZ: What do those country and western influences mean to your sound right now?

KV: As far as country and western, it’s not like I listen to tons of country and western.  But, I do know that Hank Williams is one of the greatest – even before Elvis. He was an icon. They’re just their own real, tortured thing.  Same with Nick Drake, Townes Van Zandt, John Fahey.  It’s all connected though, in different parts of the world.  They’re all American too, besides Nick Drake.  They were all tortured in their own way and had their own vision.  I go back further to the delta blues.  Like, record nerd wise, I can consider that stuff all connected: Nick Drake, that’s Europe and country and western is so American, so you can take him out.  I don’t have a huge knapsack full of country names.

SZ: I’ve heard a lot of comparisons to Springsteen, Petty, Bob Seger. I didn’t dig that one too much…

KV: There are a few Bob Seger songs I like a lot.  That’s one of my many influences.  That’s all part of the Americana, American Songwriter, heartland feeling.

SZ: Since we’re in Tennessee, how about Big Star? I can feel it in your tunes.

KV: They were a later thing.  We actually got to open for Big Star, the last show they every played in New York.

SZ: What about Alex Chilton’s death this year.

KV: Yeah, that was a really a shame.  He was pretty young too.  He didn’t seem like a mess, but you could tell he was taking it slow.  It was good to meet him.  They’re great…who turned me on to them? My buddy Max tuned me on to them.  They have tons of amazing songs, “September Girls,” “Thirteen.”  That was two or three years ago I got turned on to their music.  They also had their own vision and it combined all their older rock and roll influences all in one.

SZ: You’re on Matador now and played with Stephen Malkmus and Pavement about a month a go right?

KV: Yeah, a month tops.

SZ: What was it like to play with them?  Did you get any feedback from them?

KV: Mark Ibold, who we met when we opened for Sonic Youth, he’s so super friendly and they all are.  So, I felt like I knew Mark a little.  But it was a transitional show because one member of the Violators, Jesse, he had just finally quit his job and it was between time when we went on a two-week tour and my friend Mary filled in on the harp.  I feel like we just got a couple of big shows in between.  We knew that we played out, instead of playing together.  I think that was the same for the Pavement show. It was a giant venue in our hometown and a lot of people were out in the parking lot drinking beers and smoking bowls before Pavement.  I did get good feedback from Steve Malkmus and he was totally nice.  They all said it was good.  We really nailed it at Matador 21 later on.

Kurt and Adam

SZ: I want to ask you a few questions about your relationship with Adam Granduciel. You have each been integral parts of each other bands.  How easy it is to go from one band to the next?

KV: I don’t switch roles any more.  Adam can do whatever he wants whenever he wants, but he’s a really good soul.  The way he plays or does anything is just really natural and he has a real hilarious personality.  I’ve always relied on him. I was in the War On Drugs early on and added a lot to that record. Early times of Kurt Vile recordings, when he’s playing with me and the first War On Drugs record all come from a time when me and him were figuring out this style of music together.  Then, finally we got people to put out our stuff. Then, the War On Drugs album came out and I went to Europe with them.  But he knew I was super obsessed with my own thing.  I put out six or seven CDRs before anyone knew who I was.  He’s kind of a tone master.  The War On Drugs EP that just came out, everybody loves it and he did that by himself.  I’ve been busy in general, so I just focus on my own thing right now.

War on Drugs is more its own thing now.  Even in the blogosphere, it gets so annoying because people just copy what everybody says.  Before, War On Drugs was more popular than me and they’re always be “Kurt Vile from the War on Drugs” when I had my own recordings and that’s not accurate to say.  And now, people are so stupid they say “Kurt Vile, the singer from War on Drugs” which is more annoying for Adam.  Its stupid and people can’t get it right.  You could chase around every blog or edit your Wikipedia, but I don’t have time for that or care to.  Maybe one day I’ll have all these hired guns to chase it around.

The new school of old school

SZ: As a record collector, with maybe a little disdain for the blogosphere and I’ve heard a few things about digital downloading…

KV: I’m sorry, I’m not putting down the blog world at all.  Its not just blogs, it’s the pres in general.  Once somebody says something it gets changed a little bit and then before you know it, they’re saying that I’m the front man for War on Drugs, which is annoying to Adam.

SZ: Do you try to keep an old school approach to your career? In terms of promotion, publishing, performing, creating…

KV: Yes, absolutely. I’ve been doing it my own way for so long.  Finally, which has always been my dream, people are putting my stuff out.  I had enough time to do it my own way and I’m not 21 or someone from some hot buzz band that can’t hardly play and thinks their the shit.  Not that I’m not confident or proud or excited about music in general.  I try not to let it go to my head and keep working hard.  There are always different levels. In the beginning, you get excited about the hype and I still do.  If there’s a post and then everybody re-posts and you’re Googling yourself and you’re like “Oh sweet!”  I try to keep it old school, thinking about the music and listening to records.

SZ: Let’s talk about Childish Prodigy a little bit.  What’s so childish about it?

KV: It’s just a little humorous.  Just like Constant Hitmaker.  When I was compiling Constant Hitmaker, I thought those kind of titles usually challenge someone to listen to it anyway.  They can either take it personally and think you’re a snob or arrogant.  Or, they could see the humor in it.

SZ: Do a lot of people seem to take it personally?

KV: Nah.  But its funny, because Constant Hitmaker, I put that on the tiniest label of all time and I wrote songs that in my mind were hits.  While I was doing that I thought of Childish Prodigy, which is funny because I’m not a child, I’m older.

SZ: When you started putting together Childish Prodigy, can you name any influences that drove the record that you don’t necessarily hear in the sound?

KV: It depends whose listening.  There’s Spacemen 3, which you could probably hear.  Id say in “Hunchback,” there’s Spacemen 3 and Bruce Springsteen. There’s also the vibe of this one Wire song on Pink Flag.  There’s a Joni Mitchell references in “Dead Alive” when I say “knit me a sweater.”  I had recorded “Overnight Religion” with Adam starting in December 2005 and I had my cousin come and add percussion.  But, in my mind I was still listing to the first Pink Reason album Cleaning the Mirror and I knew, in the underground, these people would get excited about that and understand it.

Influencing the next record

SZ: What are you listening to now that might do the same for your next record?

KV: I’ll tell you what, I’m listening to a hell of a lot of the Rolling Stones.  And I just started listening to of Roxy Music on this trip.  I listened to their first album the night before I left.  Jesse had just gotten an iPod and filled with stuff, he was playing me Roxy Music.  There’s a song on the first Roxy Music called “Song for HB.”  Its like “Here’s lookin’ at you kid.”

SZ: Tell me a little about the genesis of this lyrics or what you want people to take away from it, from “Overnight Religion”: “Hear my guitar, chiming & climbing
Finding all the notes that nobody wrote
In all that time, making it my religion”

KV: I think it’s just like songwriting as religion.  Chiming is a phrase me and Adam use, like “your tones are chiming.”  And climbing is self-explanatory – just going up.  “Finding all the notes that nobody wrote” is another reference. I got that from a Thelonious Monk record call Underground.  There’s a song at the end “In Walked Bud” where the dude sings “Find that note nobody wrote, putting it down.”

“What do you think 1,000 looks like?”

SZ: Do you know how many vinyl records you have?

KV: I don’t know – what do you think 1,000 looks like.  I feel like I have more than 1000.  The things I crave, they’re not these rare psych records or anything, and it just depends on what I’m into at the time.  Sometimes I buy it on CD thought too, because I like to buy them all and then I can jam it into the car.  Usually it’s the classic rock stuff you find on vinyl.  I inherited my uncle’s John Fahey collection – that’s super-cherished vinyl.  Just the other day I realized I like that song “Just a Song Before I Go” by Crosby, Stills and Nash.  I heard it in the car and I though it was Steely Dan, but I Googled the words and found out what it was.  You look for what are hopefully $1 records, other times you’re just board and you go the record store a buy a re-issues that’s a little too expensive of some folk band.  It’s exciting once you know what you want.  Usually I’m pretty on top of it these days – I find what I want.

SZ: How are you going to get psyched for the show tonight?

KV: Well, it just usually happens.  I’ll take it really slow – I’m trying to pace myself this tour.  Have one beer – of course, I’m having one right now because I’m trying to get rid of my headache and I think its working.  Once you get up there, hit notes and feed off the crowd, it does it itself.

Interviewer: Dave Sharp

Notable links:
Kurt Vile Online
Kurt Vile’s Myspace
War on Drugs Myspace