To be prolific is one thing for an artist, but progressing with each release is another monster. Being able to churn out tunes that fit the mold of a sound is a skill in its own right but when every release from a consistent artist shows some improvement or at least some experimentation, it takes a level of confidence most people can dream of. In the case of multi-instrumentalist/singer/songwriter Kurt Vile, he possesses the latter. Vile’s career is nothing short of the amalgamation of prolific and fearless, crafting a discography that ranges from complex folk to twangy singer/songwriter tunes. His soft voice can bend and twist around a plethora of guitar-driven arrangements as his songwriting stays consistently nostalgic yet his words feel so immediate.
Born in the suburbs of Philadelphia to a large family, Vile began strumming a banjo at the age of 15 and never looked back. As a teenager, he would create home recordings with his banjo. His first mass-produced single was released when he was only 17. While his solo work is the crown jewel of his career, it’s not how it started. After moving away from the Philadelphia area, Vile returned and met fellow multi-faceted musician Adam Granduciel. In 2005 the duo officially created The War on Drugs, one of Philly’s premier indie outfits. Their creative relationship would be fruitful with Vile and Granduciel working on the first two War on Drugs albums together. In 2008 the duo debuted with Wagonwheel Blues and set out on a tour to support the record. While on tour, Vile’s solo debut Constant Hitmaker was released via Gulcher Records. The album contained tracks recorded from 2003 to 2007 and subsequently launched what would become one of the most impressive discographies of modern times.
The praise and success of Constant Hitmaker prompted Vile to leave The War On Drugs. Granduciel and Vile continued to work together over the years but something was pulling Vile into the solo spotlight. Vile’s consistency may come in waves as the years go on with his latest album, Back to Moon Beach arriving this Friday, November 17. Before the celebration of a new Kurt Vile album begins, let us take a look back at his fantastic discography and decide which of his mind-altering takes on classic singer/songwriter tropes feels the most palpable.
Here are Glide’s rankings for Kurt Vile’s solo discography.
9. Constant Hitmaker
Released: March 4, 2008
Vile’s debut plays like the greatest hits from an artist with no hits at all. The 13-track LP marked the beginning of Vile’s solo journey and introduced us to his wasp vocals. While it is his debut, it might also be one of Vile’s most daring. The gritty textures that flow throughout these home recordings add a layer of humility to the otherworldly soundscape crafted for Constant Hitmaker. His use of ambiance on tracks like “Space Forklift” (Vile was working a forklift job at the time) and “Don’t Get Cute” give these tracks an almost psychedelic feeling. Vile’s debut has the artist exploring every corner of his creativity with fearless gusto, he experiments with tradition to land on a sound all his own, a sound we will see fully develop over the years.
8. Childish Prodigy
Released: October 5, 2009
The same year as his sentimental lo-fi sophomore effort, Vile yet again makes a sonic shift on Childish Prodigy. This album marks Vile entry into studio recordings and brought former bandmate, Adam Granduciel, back into the picture as a producer. The difference is immediately noticeable, the distortion and heavy sound of the album’s intro, “Hunchback”, told us that this is not the same Vile we’ve heard in the past. This was also the first time the world was introduced to The Violators, Vile’s backing band. The addition of a full band rounded out the sound Vile started on his earlier work although everything feels elevated on Childish Prodigy. He was able to keep the rawness of his home recordings while adding layers of complex musicianship and nuanced songwriting.
7. B’lieve I’m Goin Down…
Released: September 25, 2015
After two years of EPs, Vile emerged with his sixth studio LP and his bag of tricks grew yet again. B’lieve I’m Goin Down… is Vile’s headfirst dive into a more country sound with the artist crafting twangy arrangements that fit his high-flying vocals beautifully. Vile’s vocals sit atop a plethora of country-inspired arrangements for what feels like his least experimental, although an album with this many straightforward Western tunes was out of left field for Vile at the time. While his vocals sound confident and the relaxed tempos magically match his storytelling, Vile created an easily digestible LP without sacrificing his uniqueness as a vocalist and songwriter. He allowed the arrangements to do the changing as his presence on these songs stayed in his signature immediacy.
6. Lotta Sea Lice (With Courtney Barnett)
Released: October 13, 2017
The same Outlaw-inspired sonics that drove Vile’s 2015 outing got a facelift on its 2017 follow-up. Vile worked with the great Courtney Barnett on their Lotta Sea Lice LP, a marriage of Vile’s newfound love for classic country and Barnett’s veteran status in the genre. Their vocals both carry the weight of experience while the instrumentals on the album range from crunchy textures (“On Script”) to dense hard rock (“Outta the Woodwork”). Working with Barnett allowed Vile to truly come into his own in the country genre, what felt missing on his previous country outing was found in the confidence Barnett gave him to explore the stranger side of tradition.
5. God Is Saying This To You…
Released: March 3, 2009
Almost a year on the dot since his debut, Vile wasted no time with his sophomore and wasted even less changing his already unique sound. God Is Saying This To You… is a touch bit more conventional than his debut but the emotions are far more palpable. By stripping away any unnecessary bells and whistles, it feels like we are truly meeting Vile for the first time in his sophomore effort. The airy vocals set to the gorgeous plucking in “My Sympathy” indicate that Vile is more comfortable with his voice, as seen in the stirring ballad “Songs for John in D”. The short yet potent outing also saw Vile experimenting with his guitar playing as well as on the chugging “White Riffs”. God Is Saying This To You… is a heartfelt sophomore effort that shows Vile is more than a one-trick pony, and attempting to place him in a category would be futile.
4. (watch my moves)
Released: April 15, 2022
The most recent Vile release has the artist staying in the same pocket as Bottle It In although notably more rootsy. Watch My Moves has Vile dropping the crunchy textures and dense guitar work of its predecessor for softer, more expansive arrangements. The change is most noticeable on songs like “Palace of OKV in Reverse” with its lush synth work and “Mount Airy Hill” with its twangy guitar work and soaring vocal performance. Vile’s ninth outing is the amalgamation of his many sonic ventures, mixing his love for long, slow-burning tracks with the newfound confidence in his vocals, all wrapped up in Outlaw-inspired vocal performances.
3. Bottle It In
Released: October 12, 2018
After two LPs brimming with Western influence, Bottle It In is a return to form of some sort. Vile’s eighth studio LP picks up where Walkin On A Pretty Daze left off, except with a bit more attitude. The gentle melodies and plush textures are exchanged for left-field guitar tones and Vile’s consistently entertaining vocals. Bottle It In is overflowing with new sonic territories crafted by an artist with very little to prove to anyone, although the creative leaps and daring explorations show that Vile is far from satisfied with himself.
“Yeah Bones” is a gliding tune that exudes Vile’s style except with a bit more advanced musicianship. Listening to Vile’s discography is like witnessing someone gain confidence over time with Bottle It In being the final scene in a coming-of-age movie. Vile has never sounded so confident over his experimental arrangements, arrangements that would usually prompt his vocals to take a back seat. On Bottle It In, Vile was able to mix the daring and the conventional sides of his artistry for a monstrous outing that is in no rush to be anything but itself.
2. Smoke Ring For My Halo
Released: March 8, 2011
Of all of Vile’s surprise sonic twists, Smoke Ring For My Halo might be the most welcomed. The bluesy guitar playing and folk-inspired vocal melodies give Vile’s sound a Southern twist while allowing his songwriting to flourish. The title track and “Society Is My Friend” are some of Vile’s best songs. This new approach truly allowed Vile’s songwriting prowess to shine with the arrangements sticking to a more conventional, muted sound compared to his previous projects. He found a comfortable groove with The Violators as their chemistry is part of what drives Smoke Ring For My Halo. This album feels like Vile making a statement, he could easily make accessible folk-inspired rock tunes, but his love for new sonic territories will always be present.
1. Walkin On a Pretty Daze
Released: April 9, 2013
With Smoke Ring For My Halo introducing us to a more conventional Vile, its follow-up has the artist exploring the furthest limits of that convention. Walkin On a Pretty Daze is an expansive outing with Vile crafting sonic odysseys that stretch out his musicianship for colossal 7 to 8-minute tracks. By approaching these songs with a slow-burning nature, Vile was able to tap back into the psychedelic nature of his home-recorded debut and elevate his love for wonky guitar melodies. “Was All Talk” is another one of Vile’s best works while “Pure Pain” has him crafting a heartfelt love song over an unpredictable arrangement. Walkin On a Pretty Daze allowed Vile’s experimentation to meet a healthy middle ground with his conventional songwriting for an unforgettable LP brimming with everything that makes Kurt Vile so special.
