Q&A: Kurt Vile explains why making music comes easy

by Mark Teo

September 25, 2013

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Kurt Vile's made a name for himself for being an uber-talented, and uber-prolific, slacker.

Kurt Vile is often portrayed as a slacker, but when it comes to his artistic output, the descriptor couldn’t be further from the truth. Legendarily, he started his career as a forklift operator, and he’s transferred a blue-collar work ethic to everything he’s touched, from his work with The War on Drugs to his fistfuls of solo releases, which effortlessly bridged the gap between folk and the American college rock canon.

So why can’t he drop that slacker tag? His rich, THC-tinged guitar opuses on 2011’s Smoke Ring For My Halo were laid back on first spin, but settled into virtuosity that had him earning props from Mascis and co. Its follow-up, the wonderful Wakin on a Pretty Daze, felt similarly languid and ear-catching, but in reality, pushed the boundaries of both listener and songwriter—many of Wakin’s jangly, offbeat pop songs pushed the 10-minute mark. Vile makes songwriting seem so damn cursory. As he says on “Was All Talk,” “making music is easy.”

We caught up with Vile after Toronto’s TURF festival, where we talked about family life, the business of being Kurt Vile, and when he plans on taking a break from the hustle.

AUX: You’ve mentioned that Pretty Daze was rushed through the writing and recording process. Do you think it altered the final product?

Kurt Vile: I’m happy about it, and you gain some fans with every record and lose some, too. It wasn’t really rushed—I’d say it was actually more efficient than Smoke Ring. Being on the road, playing to bigger rooms, the songs also evolve on the road, and they’re feeling more natural while being played as a unit [with his band, the Violators].

How much did they contribute to Pretty Daze?

It depends on the track, really. There’s a lot of different changes [in personnel] on the record. I wrote all the songs in my head first, but Rob [Laakso, multi-instrumentalist] is my newest member and my right-hand man, he had a lot of overdubs. Jesse [Trbovich] added his fair share. But my friend Stella [Mozgawa, of Warpaint] is an auxiliary Violator. Vince [Nudo, drummer] came in, and he played on “Air Bud” and “JV Crimes,” that was awesome.

Your Canadian tour was nearly all festivals—TURF, the Festival D’Ete, and Calgary Folk Fest. Do you find it challenging to play to larger, outdoor audiences?

Honestly, at this point, no. I found it challenging a couple of months ago, because it takes a while to get into the groove. We’ve been touring pretty hardcore since April, and it feels really oiled-up. I’m definitely getting used to the festival thing as well as the club thing—they’re different. You get used to the lulls of inertia.

You’ve just had your second kid, and you’ve been on tour for months. Is it hard to be away from your family for so long?

Not really. They visit between breaks on tour. I mean, I have a pretty hardcore schedule, and it’s no fun for family. But like, it’s my job, and I gotta focus on touring. And until I can afford a couple buses [to transport my family], it’s basically like I’m at the office. It’s still sad to go away, but we’re used to it. And now, we’re seeing the payoff. My wife isn’t working right now [because of the money Vile is pulling in], so we’ve figured out a balance and understanding.

You mention a payoff—have you gotten more attention, and touring offers, for Wakin On a Pretty Daze?

Actually, our last record, Smoke Ring For My Halo, was crazier, we got lots of crazy offers, and that was new for us [then]. Right now, it’s just high traffic because the record’s out. So we have to capitalize on it and strike when it’s hot—we won’t be on the road for five years. 

Wait, are you talking about retirement?

I mean, I can see myself certainly disappearing for a certain amount of time. But I don’t see myself retiring from music forever. I can see myself disappearing for a year, maybe two. But for right now, we’re just milking it.

So was it always the goal to make music your career? Or did you originally have other plans

That was the goal—life and music, it’s all one and the same. It’s natural. I play every day, and I have the knack for music to come easily.

Like you say on “Was All Talk.”

Yeah! But now, we have all these summer gigs, and you get better at guitar all the time. It’s not like I’m sitting there practicing scales. I’m out there living it. Everything’s been fine-tuned, and everything’s fallen into place—I have a wife and kids, and this is my living. It’s a labour of love.

This article originally appeared in the September 2013 Issue of AUX Magazine.

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Tags: Music, Featured, News, AUX Magazine, AUX Magazine September 2013, Kurt Vile

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