Typhoon: “But if there’s nothing, then what’s that song that keeps hounding me? .. this is not your loss, this is your offering” – The Independent (Feb 13, 2018)

Written by Erica Andreozzi

Having waited over SEVEN YEARS to see Typhoon live, this night at The Independent seemed all a bit surreal. What pacified me in the interim was catching the mindblowingly-talented mult-instrumentalist and visionary behind this 9-person indie/folk rock, Kyle Morton, live in concert at The Swedish American Hall back in Jan 2016. Although this was only second night on tour in support of first solo album, ‘What Will Destroy You,’ Kyle received a standing ovation from his SF crowd. New tracks like ‘Sickness Until Death,’ ‘Water Torture,’ and ‘Survivalist Fantasy,’ found new homes in our hearts, despite old gems like ‘Claws, Part II,’ ‘Common Sentiments,’ ‘Honest Truth,’ and ‘Morton’s Folk,’ having been rooted there for years. (see below for videos) It was Kyle’s emotional rendition of ‘My Little Darling Knows My Nature‘ that hammered on my heart-strings the most, especially after raising his hand to show his wedding ring, saying he “did all right” (for his little darling is now his wife): 

“Now my little darlin I’ll sing you a love song
One you can hang your hat on every night
I will be your witness if you be mine
I will be your witness if you be mine
I will be your witness if you be my wife.”

The allure of Typhoon lies in their pensive, visual narratives and its capricious, temperamental nature (just as the tropical storm would suggest). The songs that truly TAKE US BY STORM (Artificial Light, Young Fathers, CRP/ Claws Part 2, The Lake, Summer House, Hunger and Thirst, Common Sentiments) are those that sweep us off our feet with ease and move us on a suspense-ridden journey laced with sharp twists and turns. In fact, I thought ‘CRP/ Claws Part 2‘ was 2 songs when I first heard it, for there was a distinct, abrupt change in the rhythm and instrumental arrangement halfway through. The same goes for ‘Common sentiments.’ I adore the juxtaposition of Kyle’s harder guitar and deeper voice with Shannon’s softer strings (violin) and higher-pitched vocals.

We all had been waiting nearly 5 years for Typhoon to return with a new album, for their last one (‘White Lighter‘) was released back in 2013. This newest album, ‘Offerings‘ (the fourth in their collection) stood out to me as the most ominous and most mysterious, for many of the lyrics (and associated voice recordings) have you furrowing your eyebrow (especially mine!) and questioning the intent. ‘Offerings‘ opens with a thought-provoking prologue (“Listen — of all the things that you are about to lose, this will be the most painful“) before launching into a song (‘Wake‘) about about a man “preoccupied with memory, losing memory, and trying to recapture memory.” Kyle mentioned wanting to explore “the dual theme of (1) what it means to be a person stripped of all memory and (2) what happens to a world that loses all sense of history (read: modern America).” YAAAAS. ‘Wake‘ was certainly the perfect wake-up call for the album, and the startling, unexpected uproar of violins and guitar shredding together (2:30 min) immediately following this plea was absolutely PERFECT: “But if there’s nothing, if there’s nothing Then what’s that song that keeps hounding me? …. this is not your loss, this is your offering”. I love how it’s then followed by Kyle shouting “Asa nisi masa” as if an SOS cry for help.

Wake‘, ‘Rorchscah‘ and ‘Empiracist,’ are my three favorite songs on the album, and just happen to be back-to-back. Other favorites include ‘Remembering‘ and ‘Unusual‘.

Rorchscah‘ highlights Kyle’s concern of people losing all sense of history, describing the navigation of our world solely via tv, computers, and Iphones (“Eyes on the screen, We have all the information now, but what does it mean?”), which, despite “all our (technological) progress,” leaves us wondering “what happened to the life we lost, that got lost in the living?” (I love the call-and-response between Kyle and Shannon’s vocals). “All this fiction make me nervous,” Kyle mutters, as if to call out those who have so easily forgotten our history, the “sacrificial violence” (bloodshed, bombs), and who “edit” the “film in their brain.” TRUTH BE TOLD.

Empiricist‘ also has some intriguing lyrics, my favorite being “But you can’t help wonder, who is this person you celebrate?… It’s still your birthday, so blow out your past lives like they’re candles on the cake.” Wow. That certainly stings. Kyle dishes out even more cynicism in ‘Unusual:’  “This brave new world— It’s gonna take some getting used to… Yeah, it’s cruel and unusual, Can’t tell the punishment apart from the crime.” Nevertheless, my favorite lyrics from this album are in the song, ‘Remember,’ for it emphasizes urgency (“Just make your move before you have no move to make”) and constant curiosity (“How long can it take?”)  HECK YES.

I think it’s safe to say that these TyphoonOfferings‘ (in the form of their fourth album), offered more reflection, self introspection, and confusion than any before, all in all reminding me of a quote from Salvador Dali (who I thank my fellow music buddy Alex for mentioning): “What is important is to spread confusion, not to eliminate it.” AMEN. Can’t WAIT to see Typhoon again at Sasquatch Music festival at the end of May. 🙂

 

Kyle Morton (solo tour) at Swedish American Hall

 

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The Head and the Heart: “If you think that you’re lost, you can follow the bridges you’ve crossed… You can turn it around, there’s nobody blocking your way” – The Greek Theater in Berkeley (Oct 7, 2016)

Written by Erica Andreozzi

After a 4 year hiatus of being away from this stunning Seattle-based sextex (The Head and the Heart) while I was living abroad, it was time to get my HEAD and my HEART aligned with some new SIGNS OF LIGHT. This new album (released this month) has hammered on my heartstrings with such intensity that I almost feel like they were READING MY MIND when they wrote it. Kicking it off with ‘All We Ever Knew‘ had me instantly hooked: “I’m feeling low, feeling high, feeling down, why isn’t this enough?… It’s time to wake up from this” AND “if you think that you’re lost, you can follow the bridges you’ve crossed” — you can ‘Turn it Around,” for “There’s nobody blocking your way, taking you down.” TRUTH. Frontman Jonathan Russel (whose hand I shook at the end of their set!) reinforced this mindset with his positive comments on San Francisco, a “city where you can pretty much do anything.” It’s also a place where you can quickly escape into nature (like I did the next day frolicking in the Redwoods), BE STILL, and savor Jonathan’s wise words in ‘Your Mother’s Eyes‘: “My only regret’s taking so long, Finding these simple truths, So I could sing for you.”  ❤  My heart was even fuller this evening with The Head and the Heart recruiting ONE OF MY FAVORITE ARTISTS OF ALL TIME, Tallest Man on Earth, as their opener. Review on him coming soon!

Courtney Barnett and Kurt Vile: “You can’t save the unsavably untogether” – Fox Theater in Oakland (Oct 18, 2017)

Written by Erica Andreozzi

I find it SO FREAKING EERIE that I immediately compared Courtney Barnett to Kurt Vilenearly 4 years ago when I first saw her at The Great Escape Festival in Brighton and NOW, they are TOURING TOGETHER after the recent release of their collaborative album, Lotta Sea Lice. Kurt Vile was someone that I had been following since his ‘Smoke Ring for My Halo’ days thanks you his brother Paul Vile who directed me to his set at Sasquatch 2012 (arguably the best lineup of any US festival I’ve been to yet). Courtney and Kurt reminded me of one another in so many ways – stitching songs together with threads of rock, grunge, and folk, and doing so with a carefree, nonchalant charisma that plagues all who listen. I am in awe of their ability to whip up to witty narratives about obscure observations of the mundane. Their collaborative albums is a testament to the beauty of a creative, comfortable companionship between two eclectic music makers that complement each other’s chords finished each other’s sentences (literally). Their charming ‘Continental Breakfast‘ track has Courtney and Kurt singing back and forth about the frustration of maintaining their long-distance friendship (“I cherish my intercontinental friendships; We talk it over continental breakfast”) and the monotony of life on the road (“In a hotel in East Bumble-wherever; Somewhere on the sphere, around here.) I also really loved their song, ‘Fear is Like a Forest’ (“Fear is like a forest, The dark of the unknown; Love is like a promise, That you’ll never be alone”), which was actually written by Courtney’s wife, Jen Cloher (talented musician who opened the show). I also enjoyed the manifestation of Courtney and Kurt covering each other’s songs, with Courtney’s version of Kurt’s ‘Peepin Tomboy’ (‘Peepin’ Tom’ on this album) paralyzing me with the arresting apathy of her delivery. I also really enjoyed Kurt’s take on Courtney’s ‘Out of the Woodwork.’ But, the MOST MEMORABLE MOMENTS OF THE NIGHT were when Courtney and Kurt covered Belly’s ‘Untogether’ (“You can’t save the unsavably untogether”) and Gillian Welch’s ‘Elvis Presley Blues’ (“I was thinking that night about Elvis, Day that he died, day that he died”). Courtney’s vocals absolutely SHINE on this on, and the bread and range of the vocals are more apparent than ever. My heart was gushing a bit with the beautiful harmonies between her and Kurt. I’m sure Mr. ELVIS PRESLEY himself would have definitely approve. It was so refreshing to watch the playful banter between such seasoned musicians and I kept smiling when I saw Kurt’s classic yelps (“Whoop!”) making Courtney laugh throughout the set. He then had the entire audience laugh when he said that “Lotta Sea Lice” is the “only sea lice you want to have.” A powerhouse performance by a powerhouse pair of proper pals.:D ❤

Check out full  videos from the show below:

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Damien Jurado: “I have questions that lead to more questions…”

Damien Jurado– Sasquatch music fest

(May 28, 2012)

Turns out I was standing next to a guy that used to work with Damien Jurado when he was (get this!) a ELEMENTARY SCHOOL TEACHER in Seattle. I am so shocked! After seeing him writhe around on the floor shouting the lyrics to his last song, I have a hard time believing he was once disciplining small children. Haha. I love hearing the interesting backstories of these musicians. Always a pleasant surprise  🙂

Nothing is the News and Working Titles were my favorite tracks from his 2012 album, Maraqopa. Favorite verses back-to-back in Working titles:

“Leave me an exit to damage
I could use a ledge to jump off of
I wasn’t lying when I said this was over
I have questions that lead to more questions  (truth)

Running time that will cut off my fingers
You wrote about me on every new record
I’ll show up in the title of your song
I only hope somebody requests it.”   (slayed)

VIDEOS:

Working titles

I had no idea the Tallest Man on Earth and Idiot Wind (his wife) cover this! INCREDIBLE.

Also, check out Augustines cover of Damien Jurdo’s Ohio!

PICTURES:

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Mogwai: “Music is so powerful that it’s quite beyond my control…and when I’m in the grips of it I don’t feel pleasure and I don’t feel pain.”

Mogwai– KOKO, London

(July 29, 2014)

I had always heard that Mogwai was an incredibly SOLID BAND and one of Scotland’s FINEST, but for some reason, I let them slip under my radar (which is pretty surprising considering my hearty appetite for Scottish bands: Frightened Rabbit, The Twilight Sad, Admiral Fallow, Three Blind Wolves, Washington Irving, We Were Promised Jetpacks, RM Hubbert, Fatherson, Bwani Junction, CHVRCHES). I remember I was going to see Mogwai at Sasquatch music festival back in May 2012, but they cancelled last minute due to visa/travel issues. Looking back, I can’t even IMAGINE hearing/watching their ethereal music emanate over the Gorge’s siiiiiiiiick celestial skyline. MY GOD. Seeing them and Explosions in the Sky on one weekend might have shattered my brain to bits, and maybe it was for the best…NOT. If it wasn’t for The Twilight Sad (one of my favorite Scottish bands) announcing a benefit concert with them to honor the loss of Julia Brightly, I might not have traveled down MogWAY (thankfully I did). The benefit was the idea of Stuart Braithwaite from Mogwai and Daveid Phillips from KOKO, and the message they posted on their ticket page was:

“On Saturday 3rd May, ​we were devastated to learn of the passing of our beautiful friend Julia Brightly who lost her struggle to sudden illness (cancer). To say all of us were in shock is a huge understatement.  Anyone who knew her from the days of the Mute Drivers to any artists she did sound for, from Mogwai, Yeah Yeah Yeah’s, Caribou to Slint and her friends & family will all agree, she was one of the bravest and most talented people we were lucky enough to call a friend. We all miss her dearly, and although sadly departed she will never be forgotten. In her honour we are staging a benefit to donate all the proceeds to one of Julia’s favourite charities, Gendered Intelligence – something very close to Julia’s heart…All proceeds from the concert will be donated to GenderedIntelligence.co.uk.” SUCH an amazing idea and generous offer by both bands, and I’m so glad I was able to be a part of it.

After a brilliant set by The Twilight Sad (they keep getting better and better every time I see them), I anxiously anticipated this “post-rock instrumental band” that I had been hearing alot about. I recall meeting a guy at The Twilight Sad’s Bandstand Busking event (June 21) telling me that Mogwai was his FAVORTE BAND OF ALL TIME and that he’s seen them 11 TIMES NOW (including traveling to Primavera Sound Music festival every year they’ve played). Well, let me tell you…I can TOTALLY see WHY he’s seen them that insane amount of times, and whey he’s harnessed an addiction for their hypnotic concoction of music. I am STILL LEVITATING from Tuesday night’s performance at KOKO, and my EYES HURT (literally, I’ve had sore eyes since) from how long I’d kept them WIDE-EYED (buggin out!) during the entire set. I was lucky enough to soak up all the magic from the very front, and might just have collapsed if the railing was not there. Serious adrenaline. Serious numbing. Serious loss of motor control.

It’s hard to describe the beauty of the compositions that Mogwai create– their music steal snippets of magic from genres like shoegazing, math rock, art rock and occasionally instrumental metal. It was once stated in an interview that “the band do not like the categorisation of post-rock” because they believe it “over-analyzes everything.” I definitely agree, and many times I’ve found that the most beautiful things in life are often the hardest (and sometimes impossible) to describe. What I CAN SAY it is seems to me like symphonic music made with rock instruments, similar to Explosions in the Sky, but with alot more distorted guitar (which I LOVE). I was lucky enough to see Explosions in the Sky both at Sasquatch music festival (2012) and at the Palace of Fine Arts theater (sick, I know). More recently, I’ve seen 65daysofstatic and sleepmakeswaves, two other bands who I can draw some parallels to Mogwai.

I was so BLOWN AWAY by how adroit and technically-sound all of Mogwai‘s band members were, and how flawlessly they would exchange instruments like they were PLAYING A GAME OF CATCH.  In the absence of lyrics, it’s obvious they all communicate through their unique instrumental dialogue: raging riffs, piercing percussion, tantalizing trill, disturbing distortion, bellowing base…(You get the picture). Having formed in 1995, Mogwai (…MogWAY…MogWOW) has craft their craft into the music scene for nearly two decades now, and their talented cast includes: Stuart Braithwaite (guitar, vocals), John Cummings (guitar, vocals), Barry Burns (guitar, piano, synthesizer, vocals), Dominic Aitchison (bass guitar), and Martin Bulloch (drums). The spot I chose to stand (front left facing the stage) just happened to be directly across from John Cummings, who is one to stand the farthest out on stage (and I’m not complaining). BUT, the COOLEST THING about this band is that there IS NO FRONTMAN. They ALL alternate in taking “center-stage,” and it’s not like all the focus is can be on the singer (cause they don’t have one!). I love this concept.

The entire set was MIND-BLOWING (did I mention that already?), but the first song to strike a chord in me was White Noise, (see video below) off their 2011 album, ‘Hardcore Will Never Die, But You Will.’ I loved being right in front of John Cumming’s guitar greatness, especially for this song, where you can’t help but sink into the mellowing monotony of his undulating riff. You then find yourself sinking deeper into this wave at 2 min in, when Stuart layers on an additional guitar riffs that stagger John’s in all the right places. I wish all WHITE NOISE sounded THIS GOOD. But, we must be honest with ourselves…this “noise” is “in fact the brilliant music of a genius.” It’s fusion of complex sound is guaranteed to stimulate a level of curiosity that is beyond our control.

I also recall the 5th SONG being one of my FAVORITES of the night, and I’m a bit upset I didn’t get it on video. I hadn’t realized it at the time, but I found out later (from that guy I met who’s seen them 11 times) that this 5th song is called Christmas Steps, and that it’s one they HARDLY EVER play live. Well then…I must have a pretty DAMN GOOD FILTER, cause I put this on the top of my list without ever haven’t listened to their albums (although now that’s definitely changed now). I just remember gentle guitar melody in the beginning suddenly become devoured but a BABBLING BASELINE at about 4 min in, and the clashing contrast was just freaking phenomenal. The plucking of the base strings in that one was like something I’d never seen before. BRUTAL ATTACK. (So good).

Nearly right after Christmas Steps was Autorock, the piano powerhouse off Mogwai’s 2006 album, ‘Mr Beast.’ The piano riff starts out soft (well, For Mogwai’s standards), and slowly builds volume and intensity throughout, keeping us VERY MUCH on our TIPTOES the entire time. Barry Burns banging on those keys was definitely a “MR BEAST” in this one. xx

Then came Remurdered, a popular gem off Mogwai’s newest album, ‘Rave Tapes’ (released October 2013). This album, by the way, entered the UK album charts at #10 and as of April 2014 has been the best selling UK album released in 2014 in terms of vinyl sales. WELL DESERVED. I currently can’t get enough of Remurdered, and it’s def going to be the title track of my next playlist.

Immediately following this one was Helicon 1, one of Mogwai’s best from their debut album, ‘Ten Rapid.’ I knew this one was gonna be SOMETHING SPECIAL when Stuart took a seat. It reminds me so much of an Explosions in the Sky song, but more distorted guitar (as I mentioned before). YAAAAAAAS. Grip me with that kinda distortion any day. A flood of adrenaline at ~4 min in, and everything becomes numb. xxx

With only two more songs left, my brain could NOT EVEN HANDLE all of the stimulation/euphoria I was experiencing. My eyes were bugging out of my head and tearing (thank gosh cause I’m sure they would have dried out), and I was left speechless. SPEECHLESS (and anyone who knows me knows that I ALWAYS have something to say!)…It was so cool to later share my REVELATION with the girls standing and me, including someone I had met previously at a Twilight Sad gig (see our huge smiles below). Then, I later saw that Mogwai music buddy (who had seen Mogwai 11 times) on the tube that night and basically let our ENTIRE TRAIN CART know how I felt about the life-changing gig. (I tried to subdue my squeal and number of “holy shit”‘s…)

Since that gig (see set-list below), I have downloaded all Mogwai albums and been listening non-stop. This new discovery truly came at an ideal time, and with an insane amount of scientific data to soon tie up, their music offers the perfect mindscape. I was all excited to analyze my 100+ brain images yesterday, knowing that I had this MogWOW feast to dig into. Just like they state in their Postpunk song, “Music is so powerful that it’s quite beyond my control…and when I’m in the grips of it I don’t feel pleasure and I don’t feel pain, either physically or emotionally…when you just couldn’t feel anything, and you didn’t want to either.”  YES….I know EXACTLY what you mean. And although you might not be conscious of how Mogwai’s music is making you feel WHILE listening, you later realize that it’s seeped into your subconsious will all sorts of healing powers.

I’m on such a Mogwai kick right now that I’m vacilating between the decision of seeing them (or not) at Richmond Park in Glasgow as part of East End Social’s ‘Last Big Weekend.’ Not only will it be one of their last announced gigs of the year, BUT, it will be IN THEIR HOMETOWN. I can’t EVEN IMAGINE that musical “MogWOW” madness…. (I’m most likely GONNA GO)  🙂

VIDEOS:

Helicon 1:

Autorock:

White Noise:

PICTURES:

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Kurt Vile (REVIEW): “I wanna change, but I don’t wanna stay the same…I wanna go, but I’m running” – Live at St. James Church and Green Man in London/Wales (2015)

Kurt Vile– St. James Church, London
(April 12, 2014)

I first heard about Kurt Vile from his brother Paul, who approached our campsite at SASQUATCH 2012, selling his own kick-ass t-shirt design (see pic below). Paul was a very cool dude, and I remembered Sara and I (both from Philly) enjoying a lil’ chat with him about the “City of Brotherly Love” and all the things we miss. Further discussion let me to find out that their younger sister actually went to the University of the Arts in Philadelphia with my best friend Amanda. SMALL WORD. Looking back on that Sasquatch 2012 t-shirt, I am thinking….DAAAAAAAMN, what a siiiiiiiiiick line-up that year. I can’t believe it never sold out! That festival still remains to be one of my FAVORITE MUSIC experiences of ALL TIME (hands down). Mad props to the cool peeps (Kyle, Colin, Nick, Ben, Sara, Kenzie, Maria, Phil, Pat, Lucas) that made it so memorable. That’s one festival I am going to commit to as an annual tradition once I built my nest up in Northern California. 

sasqutach3       sasquatch

Although I was too late to catch Kurt Vile at Sasquatch, I took his brother Paul’s advice and made sure to check out his tunes when I got home. WELL, thank gosh I TOOK THAT ADVICE because Kurt Vile’s 2011 ‘Smoke Ring for My Halo‘ became on of my favorite albums of the summer, and I could not stop listening on repeat. It also happens to be the album that launched his career and made him a household name. Luckily, I saw that Kurt Vile and the Violators were playing at the Forum in Dec in London (the city I had just moved to at the time), and I made sure to snag tickets before they sold out. See live videos below.

One of the early songs in the set that night was Jesus Fever, a favorite from Smoke Ring for My Halo, and the intro line always makes me laugh: “I packed my suitcase with myself, but I’m already gone.”  Soon after was Peeping Tomboy, an anthem of seeming contradictions that makes me smile time I hear it: “I don’t wanna change, but I don’t wanna stay the same…I wanna go but I’m running…I wanna work but I don’t wanna sit around…All day frowning.”  Then came Baby’s Arms, a love song “Kurt Vile” style:

“I get sick of just about everyone
And I hide in my baby’s arms
Hide in my baby’s arms
‘Cause except for her you know…”    (Slayed)

Following up this sweet song was Freak Train “YEAH YEAH YEAH,” and it surely got everyone up and rowdy. Such a siiiiick set already, and Kurt STEALS THE SHOW by surprising us with a cover of Bob Dylan‘s Knocking On Heaven’s Door for the encore. UNREAL!

Although I do enjoy being violated by The Violators, I must admit that I prefer Kurt Vile‘s music when he’s flying solo. Just over a year after that Kurt Violator and The Violator‘s gig in London, I saw Kurt Vile while on a solo tour around Europe. At that point he had already become a music LEGEND and music motivator for those scrappy musicians in the Philly music scene trying to make their “big break.” On this solo tour, I caught Kurt at St. James Church in London the night before Easter Sunday (only he has that kinda pull), and I actually felt pretty “holy,” with music being a sort of devout religion for me and all. I was lucky enough to snag a seat in the front pew for that show, and was utterly captivated by the rustic acoustic vibe of the night. It really showcased Kurt’s talent as an adroit guitar player and unique lyricist. My eyebrows were doing a lil’ dance the whole time as I was trying to follow his fingers. Haha. In comparison to his set with the Violators, this solo gig better captures his raw, lyrical style and his intricate finger-picking of the guitar and BANJO. Apparently the banjo was the first instrument that Kurt ever picked up (a gift from his dad), and he sure went to town on it (see video below). This helps explain why his finger-plucking of the guitar is so good!  The entire set (Dead Alive, Ghost town, It’s Alright, Girl Called Alex, Laughing Stock, Smoke Ring for My Halo, Jesus Fever, Goldtone, Wakin on a Pretty Day, Baby’s Arms), and I can only thank Kurt for my pre-Easter resurrection.

One of the first songs of his set was Dead/Alive, and older gem that I never before heard live, but one that I kept smiling at when listening closely to the lyrics:

“You’re telling me a good man is hard to find
Well what are you blind?
Well never mind let’s try and have a good time..”

I really enjoyed how the chords get all temperamental in sync with the lyrics: “You’re telling me a good man is hard to find, What was that? You better rewind…”  (haha, I love it)

Next up was Goldtone, one of my favorites from Kurt Vile’s newest album, Wakin on a Pretty Daze. It makes me feel all pensive and completely normal if I just want to hibernate all day in search of my “gold tones”:

“In the night when all hibernates I stay awake
Searching the deep, dark depths of my soul tone
Golden tones..”

Following this favorite was another favorite, Smoke Ring for My Halo, and the strumming in stride with his lyrics was enough to soothe the soul:

“Smoke ring for my halo
Angel, demon, human
Overestimated
Over and over…Think I can see it now…. YEAH.”  xxx

The acoustic version of this track has a certain organic vibe that I really enjoy. Just Kurt and his guitar. That’s all I need. Same with Waking on a Pretty Daze, another favorite from that album:

“Wakin on a pretty day
Don’t know why I ever go away
It’s hard to explain
My love in this daze..”

The tempo is perfect for a chill, lazy day when you wanna live low, “lackadaisically so…” (love his words) x 

Kurt saves one of the best for last: an encore of Baby’s Arms with Pall Jenkins (his opening act) adding some interesting sounds from the saw. Kurt doesn’t have many “love songs,” but of the ones he has, this one stands out above the rest:

“There has been but one true love…In my baby’s arms…Cause except for her…There’s just ain’t nothing to latch on to.”

I really wanted to meet Kurt after the show, but there was a huge swarm of crazy fans and I wasn’t sure where to cut in. I tried to get him to sign his brother Paul’s Sasquatch t-shirt, of which he shouted “Jelloman!” when he saw it. (Paul later told me that he had been making videos about touring festivals, selling his own shirts and jelloshots under that name.) Fortunately, I was able to snag a quick photo (see below) with Kurt before he had to go, and at least could come to the rescue when he asked the crowd if anyone had a piece of gum. “Bubble or mint?!”, I ask, and he so non-nonchalantly chooses mint. I knew I stocked my bag with gum for a reason. This isn’t “amateur hour,” as my sister would say. DUH. 😉
CAN’T WAIT TO SEE KURT AGAIN AT GREEN MAN in AUGUST 2014!!

VIDEOS:

Dead Alive:

Goldtone:

Smoke Ring for My Halo:

(Kurt Vile on Bango!):

Jesus Fever (acoustic):

Wakin on  Pretty Day:

Baby’s Arms (acoustic):

PICTURES:

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Kurt Vile– The Forum, London
(Dec 6, 2012)

VIDEOS:

Jesus Fever:

Peeping Tomboy:

Baby’s Arms:

Freak Train:

Knocking on Heaven’s Door (Bob Dylan cover):

PICTURES:

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