Kurt Vile Gives Us The Advice We All Need To Hear

While we can’t forget the pandemic was a dark period worldwide, for some people, being locked away and left to their own devices proves to be quite a beautiful thing.

Especially if you have your own home studio like Kurt Vile. Using the time at home wisely, Kurt Vile went on to release Watch My Moves just as the world started to open up again last year with his tour alongside his band The Violators kicking off in New Zealand and Australia later this month. We were lucky enough to get on a call with the trademark chiller and quiz him on all things being a dad, weird records, and what it’s like to always be associated as a stoner.

What was the first record you ever owned?

Wow. Well, aside from things that were my dad’s first cassette tape I bought with my own money... wait, let’s say aside from U2, which I was into only because my cousin was into it. I respect U2, but there’s still a part of me that's like that doesn’t count. But yeah, aside from that, I bought an EP by Smashing Pumpkins, Lull, and the song ‘Rhinoceros’ was on it. I still love that song a lot. Similarly, I remember Pavement came along, and [they] called out Smashing Pumpkins in a song, and then I too was like, I don’t listen to Smashing Pumpkins—I listen to Pavement. I remember listening to Pavement, and someone told me you can buy a seven-inch, and there's music that’s not on the cd, so I bought the Pavement-specific trim seven-inch EP, and there was a song that was unavailable on the CD. I guess those were the first mediums that stick with me.

That’s so cool. I’m seeing Pavement tonight, actually.

Oh yeah?

Yeah, they’re playing at the theatre down from my house.

I saw they’re out there in Australia. I mean, they’ve always killed it, but now they’re coming to claim what’s theirs deservedly. When they came to Philly, I got to sing on ‘Zurich is Stained’, and let’s just say they’re not having guests come up and sing their songs, you know, so it was a very special case.

Yeah, wow, I didn’t know that. How special. So Pavement was a favourite, but is there a particularly unique record that stands out for you?

There is a very weird triangle seven inch from Neil Young from the album Reactor, which is kinda a really weird repetitive album. When you first hear it as a kid, it just sounds like one song about having no T-bones or mashed potatoes. It’s weird. But when you listen to it closer, especially the song ‘Shots’, it's very aggressive and almost punk Neil Young. The guitar just shreds. But yeah, that weird seven-inch Neil Young from the ‘80s.

Just on the whole records thing, I suppose now moving from vinyl to now streaming; people aren’t listening to whole albums all the way through anymore, does this affect how you put together an album, or do you still curate it in the sense that it should be listened to from start to finish?

I still think that way. I still sit around listening to albums from start to finish. Even when I listen to albums, like these days, I like listening to old big bands because it records the sound so well, I like it on vinyl. You can kinda space out and read, and then all of a sudden, someone starts singing, and it brings you back to the moment. And it’s not singing all the time like it’s instrumental.

But with streaming, I mean, if you want to play the game, you gotta think about making a catchy song that will be streamed a lot. I will always try to come up with a hit. I mean, maybe I only really ever had one real hit, which is ‘Pretty Pimpin’. But you know, I’m gonna try. But then there are other people who are big right now, like Charlie XCX, that I’ve listened to, where her whole record is good from front to back. People are still doing it where they put out a record designed to be listened to all the way through, but that’s the game I’m in.

You’ve come out to Australia a few times, is there anything in particular you like about here that you don’t have at home in Philly?

It feels wide open, and the weather. It’s just sunny. There’s actually similar humour that Australians have to Philly, that ball-busting sense of humour. It’s really a second home to me.

Are you going to catch up with Courtney Barnett when you’re out here?

I happen to know she’s out of the country, but we do see each other a lot. She’s a sister to me. I saw her last time when she opened for Nick Cave and Warren Ellis at Hanging Rock. I sat in, and we played over everything together. It was unbelievable. So, I saw her the last time I was there, which wasn’t that long ago.

Obviously, you’ve had quite a long career, was there ever a defining point where you felt you had ‘made it’ or whatever you define as making it?

Well, there are different steps along the way, honestly. I mean, once someone actually put out a record that’s making it, you know, because I’m not putting it out myself. Or it's official you’re signing to Matador, and that’s the label that played all my favourite albums growing up, like Pavement. You know, then I can quit my day job and I’ve made it. Then ‘Pretty Pimpin’ becomes some version of a hit. It became number one on some kind of chart on the radio and you’re filling up theatres. Then a couple of albums later, you don’t fill up the same theatres. You know, it fluctuates. Then you have a new album, or you sign with Verve Records, which is a major label. I was able to build my own studio and work. I feel like I’ve made it in all kinds of different ways. Right now, I’m in a good balance of chilling at home and going off into the world. I feel like I’ve made it where I don’t have to constantly be on the go, but I enjoy it when I am.

Did having children change the way you make music?

Smoke Ring for My Halo was the album I was making to have it timed when my first child was born. I didn’t finish it on time, but by the time the next album came out, I had my second daughter. I remember during the making of Smoke Ring for My Halo, my producer said, ‘As soon as this baby is born, you’re gonna start writing all these dad songs.’ I was like, no, I’m not. But then, right when the baby was born, I immediately wrote two reflective songs that made the album. So, immediately, like, a dad song (laughs). But whatever. You get sentimental. I mean, they’re just involved, you know? They’re there. They’re always listening to music and playing it. I’ve always involved them in my world.

That’s lovely, though. Do you prefer making happy or sad songs?

I feel like they always have to be a little sad. I just like the pretty core sad, hypnotic, dreamy things. Ultimately, a little sad, yeah. Never too happy, otherwise it makes me feel crazy.

What do you make of your stoner music association?

I don’t mind it. I would consider Neil Young music stoner music. I watched a thirty-minute version of ‘Like A Hurricane’ during a storm once when I couldn’t sleep. It was beautiful that stoner shoegaze. I would rather be a stoner than way too organised or something.

If you could go back and give some advice to your younger self, what would that be?

This is what I always say at least for music and things but just put things out. I mean, you mentioned streaming, so it’s hard now, and maybe because I’m older, I do things differently, but you gotta just keep doing your own thing. Don’t wait around for some big break, people like to see that you’re just doing it anyway. I guess you can’t put out something physical that people can hold with streaming now as much these days, but as far as advice, I think it still rings true to just get something out there. If you’re passionate about something, then it can be a struggle. It’s a mind fuck. It's emotional, but you just gotta keep doing your thing. Just keep doing it because, eventually, people will notice... I don’t know. I'm sorry that could be better.

Don’t ever be sorry, Kurt. That’s some beautiful advice. Thank you so much for your time.

Thank you.