The Bowery Presents
Kurt Vile and the Violators

Kurt Vile and the Violators

Widowspeak, The Young

Fri, November 11, 2011

Doors: 6:00 pm / Show: 7:00 pm

Webster Hall

New York, NY

$17 advance / $20 day of show

This event is 18 and over

Kurt Vile and the Violators
Kurt Vile and the Violators
Kurt Vile (real name) has slowly, quietly become one of the great American guitarists and songwriters of our time. Kurt was born in 1980, one of ten children, and raised in the city of brotherly love, Philadelphia. As a teenager, his bluegrass-loving father gifted him
with a banjo, when what Kurt craved was a guitar – so he played it as if it were.

Bewitched by lo-fi figureheads like Beck, Pavement, and Smog, along with a love for classics like Petty, Creedence, and Neil Young, he
recorded his first songs and self-distributed them on CD-R between 2003 and 2007. These were compiled on 2008’s Constant Hitmaker and the 2009 mini-album God Is Saying This To You… The dreamy and psychedelic tangles of damaged but still-lyrical songcraft announced a major new artist wandering in from the hinterlands.

The Violators (then featuring Adam Granduciel, with whom Vile had co-founded The War On Drugs) debuted on the 2009 EP The Hunchback, coming into their own on Childish Prodigy, Vile’s third album and his first for Matador. More violent, more vivid, more ecstatically ‘rock’ than anything in Vile’s catalogue, the album was a righteous leap forward. The album that followed, the breakthrough Smoke Ring For My Halo, was more reflective, something sun-dappled and sexy in softly strung-out strums like “Peeping Tomboy,” the kindred flipside to barnstormers like “Freak Train” off the previous record.

His fifth album, Wakin On A Pretty Daze, is a 69-minute double LP and Kurt’s defining statement to date. Where previous albums alternated between gorgeous fingerpicking and heavy guitar workouts, this album blends the two in dreamy, expansive songs that gradually unfurl like a massive flag. It is a record that would have sounded great 30 years ago, sounds great today, and will still sound great 30 years from now.
Widowspeak
Widowspeak
Widowspeak is an American band comprised of Molly Hamilton and Robert Earl Thomas, known for its dreamy, western-tinged take on rock and roll. The outfit formed in 2010 and released two singles in 2011 (Harsh Realm,
Gun Shy) followed by a debut album (self-titled) in the summer of that year, all on Brooklyn label Captured Tracks. Widowspeak was praised for its reverential spaciousness, Hamilton's haunting voice, and Thomas's spindly, Morricone-esque guitar lines; both drawing on 1950's pop ballads and 1970's psych, creating languid call-and response melodies. The band then toured extensively, wearing in their warm, nostalgic sound.

Widowspeak began to write what would become their second record, Almanac, at the start of 2012, as popular fears of the apocalypse became imminently close to realization. Though not totally convinced of catastrophic disaster coinciding with the year's conclusion, Hamilton nevertheless began writing lyrics seeped in doomsday imagery, darkness and dread, inspired by the idea of such a universal experience of the end. The two started making demos in their practice space. Thomas shaped the ideas into songs, experimenting with denser arrangements and grander gestures. Black and white became Kodachrome, subdued became saturated. Widowspeak explored Appalachian melodies and desert rhythms, Saharan to the Southwest, as well as incorporated acoustic instruments and slide guitar, stemming from a shared love of Neil Young.

As the compositions were brought to life, they became something new, something unlike the fatalistic seeds from whence they'd grown. These songs were no longer concerned with the end of the Earth, but with the life and death of seasons, youth, love, and the cyclical nature of all
things. The band chose the name 'Almanac' in tribute to those annual tomes which have eternally provided predictions of weather patterns, lunar and solar movement, and astronomical phenomena. But the songs are also about the changing times we find ourselves in: "the good old days" at odds with the hyperactive present, and the sense of loss, but also adventure, which that provides.

The album was recorded by Kevin McMahon (Swans, Real Estate) in a hundred year old barn in the Hudson River Valley of New York State during the transition from summer to fall. Producing with McMahon, Thomas expanded on the band's demos, crafting layers of guitar, Rhodes piano, organ and harmonium.

Almanac will be released by Captured Tracks on January 22, 2013.

If Widowspeak's first record serves as a collection of postcards, sent from destinations traveled to in that first transformative year, then their second is the guidebook written after they'd found their sonic home and inhabited
it fully.
The Young
The Young
When we last heard from Austin, Texas' The Young, the quartet was livin’ free and their album Dub

Egg was the sunshine-fuzz hit of the year in more enlightened households worldwide. Flash

forward two years and it seems the bill is due, in a big way as Chrome Cactus is a far darker version

of The Young. The breezy optimism of their earlier albums has been switched out for sinister,

creeping dread in both lyrics and music, and the instrumentation is far sharper as well. The rhythm

section of drummer Ryan Maloney and new bassist Lucas Wedow lay down a heavy (though nimble

where they need to be) foundation for the already formidable guitar interplay of Hans Zimmerman

and Kyle Edwards. Finding two guitarists with a penchant for such skillful, intuitive interplay is

tough enough, but Chrome Cactus is the moment where Zimmerman's vocal delivery & way around

a tune has caught up with The Young's instrumental prowess.

Expertly produced by fellow sonic assassin Tim Green (Nation of Ulysses, The Fucking Champs,

Thee Evolution Revolution etc.) at the new Louder studios located in the foothills of the Sierra

Nevada Mountains in Grass Valley CA, Chrome Cactus aurally denies the idyllic setting that it was

recorded in. From the undeniable riff of album opener “Metal Flake” to the squalls of feedback

in “Blow The Scum Away” that end the record, you’ll be hard pressed to find an album that both

reinforces and revitalizes everything that is great about American Rock Music in 2014.

Taking influence from a myriad of artists such as (early) ZZ Top, Dead Moon, Link Wray, Lungfish

and pedal-stompers worldwide, Chrome Cactus is a huge ball of power and controlled feedback

disguised as ten of the catchiest songs you’ll hear this or any other year.
Venue Information:
Webster Hall
125 East 11th Street
New York, NY, 10003
http://www.websterhall.com/