Philidelphia-based Kurt Vile and Adam Granduciel have always had a close relationship. They used to play in the same bands. From 2005 – 2011 Granduciel was mainstay in Kurt Vile and the Violators, and Vile in The War on Drugs. Even though they’ve separated a bit, each focusing on their own projects, they both rely heavily on each other artistically.
“I still feel like Kurt is one of my biggest inspirations,” Granduciel says in an interview w/ Scott Mervis of the Pittsburgh Post-Gazette. “When I got my record mastered, even before I sent it off to the label, I gave him the CDR, like ‘Here it is, man.’ I mean, I was like really nervous, because it’s someone you grew up with musically — 10, 12 years ago — and now that we haven’t done much together in the last couple years, it’s kind of like I want to show him. I love his music, too, and he gave me a copy of his album and I love it.“
In this third studio album, the now ‘Vile-less’ The War On Drugs absolutely kill it. Lost In The Dream builds dreamy, space-rock grooves, layering synths, guitars, drums and drum machines together to form lush backdrop, perfect to deliver Granduciel’s vocals. Although his voice is much smoother than Dylan’s, the vocal style is unmistakable, especially on 5:55 masterpiece: ‘Eyes To The Wind’
You can also hear flashes of Grandaddy (in the keys), Mark Knopfler (in the guitars) and Roger Waters in the writing. SALT Artist co-founder (and resident a-hole) Wesley Warren probably put it best when he said, “. . .it’s like Bruce Springsteen made love with Bob Dylan and early My Morning Jacket, while Tom Petty watched.” Very eloquent Wes. And true.
“I wanted to put a little more of myself in it,” Granduciel says. “I wanted to write a collection of songs and produce a collection of songs that I felt was more in line with the kind of music that I was connected to my whole life.
In Pitchfork’s stellar 8.8 review, Stuart Berman noted similar tones. He writes:
“Period sounds abound: “Red Eyes” is what would happen if Springteen’s simmering “I’m on Fire” was actually set aflame; “Burning” finds its fuse in the buoyant keyboard riff to Rod Stewart’s 1981 new-wave novelty “Young Turks”; the melancholic mid-album meditation “Disappearing” sounds like the synth-powered rhythm track of Tears for Fears’ “Pale Shelter” on a codeine drip. And the preponderance of glistening piano chords on this record suggests Granduciel is not one to touch his dial whenever Bruce Hornsby’s “The Way It Is” pops up on his local oldies station.“
With those references noted, however, do not think for a second that this album is simply a copy and paste of old Dad-Rock styles. These references are merely nods and notes, here a little, there a little. The real brilliance of this album is its depth, intent and patience of delivery. In how each song unfolds. Like Johnny Chan at a Hold ‘Em table, this album keeps its cards close to its chest. And when it eventually lays down its full house, it does so slowly. Deliberately. What seems at first like a simple music thought, suddenly morphs and elevates into something utterly earth-shattering. Moving from toe-tapping to mind bending. Granduciel sets this precedent right out of the gate, with the album opener: ‘Under The Pressure’
3:00 in, you’re tapping your toe thinking, “Not bad,” when, innocently enough, the sax gets introduced. Oh so subtly. The next 6 minutes is a rocket ride that builds slow but eventually dumps you high in the stratosphere. I remember first hearing this thinking there was no way I heard, what I just heard. Well, it was. And is. And that sort of boils down the entire M.O. of the album: Simple thoughts that develop into reeling, expansive multi-layered masterpieces.
Finally, the last and more prestigious accolade that I can bestow on these guys, and this record, is the impeccable way they perform it live. There aren’t very many bands that can make a phenomenal studio album. There are even fewer who can take it and reproduce it (even better) live. I’ve added a few videos already of live performances, but here is one more. ‘Disappearing’ from KCRW’s Morning Becomes Eclectic. . . did someone mention Mark Knofpler?
In reviewing albums, it’s golden advice to avoid superlatives and absolutes, to attempt to speak with objectivity. So let me just say this: I’ve listened to a good deal of music over the past 25 years. I’ve critically listened and reviewed music for over 10 years and I’ve got to say, this is one of my favorite albums in over a decade. Buy this album. Absorb it. And in 20 years you’ll be telling your kids about how you were one of the first to enjoy, what their generation will know as, a time-tested classic.
