7 Songs, 27 Minutes

EDITORS’ NOTES

Philadelphia psych-folkie Kurt Vile is a prolific songwriter championed not only for his brilliantly simple yet infectious tunes — but also for his amazing taste in experimental sonic textures. His 2010 Square Shells EP may be the best example of this to date. “Ocean City” opens with Vile’s lo-fi vocals contrasting nicely against a crisp sounding acoustic guitar as his sing-along catchy melodies are crooned in plaintive, cool inflections. Then somewhere around the third chorus, analog synths descend to sound like a cartoon flying saucer landing in the middle of his song. “Invisibility: Nonexistent” is a seven-and-a-half-minute-long composition bolstered by a faraway recorded drum-machine that could have been pilfered from Ariel Pink, with Moog-tweaked bubbles and chirps squealing behind a pulsing mantra of vintage-guitar distortion. The spare and beautiful “I Wanted Everything” drenches Vile’s acoustic finger-picking and haunting voice in waves of bathroom reverb as he muses on the kind of cryptic confessionals that you normally have to find in old Neil Young songs. Gauzy instrumentals like “Losing Momentum (For Jim Jarmusch)” and “The Finder” provide lush intermissions.

EDITORS’ NOTES

Philadelphia psych-folkie Kurt Vile is a prolific songwriter championed not only for his brilliantly simple yet infectious tunes — but also for his amazing taste in experimental sonic textures. His 2010 Square Shells EP may be the best example of this to date. “Ocean City” opens with Vile’s lo-fi vocals contrasting nicely against a crisp sounding acoustic guitar as his sing-along catchy melodies are crooned in plaintive, cool inflections. Then somewhere around the third chorus, analog synths descend to sound like a cartoon flying saucer landing in the middle of his song. “Invisibility: Nonexistent” is a seven-and-a-half-minute-long composition bolstered by a faraway recorded drum-machine that could have been pilfered from Ariel Pink, with Moog-tweaked bubbles and chirps squealing behind a pulsing mantra of vintage-guitar distortion. The spare and beautiful “I Wanted Everything” drenches Vile’s acoustic finger-picking and haunting voice in waves of bathroom reverb as he muses on the kind of cryptic confessionals that you normally have to find in old Neil Young songs. Gauzy instrumentals like “Losing Momentum (For Jim Jarmusch)” and “The Finder” provide lush intermissions.

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