They're still in the pot, somewhere. He's also returned to the banjo on the LPs second track "I'm an Outlaw" - the first instrument he learned to play. With such a geographically wide-reaching recording process, and then a record to tour at the end of it, I wonder how Vile manages to handle being a father and husband? He reels them off: That's not to say the various locations - from Georgia to Brooklyn - didn't have an impact in other ways though. It was vital then, when trying to bottle this sense of late-night isolation and simplicity, that the recording process was right. 
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Vile's the one who found the director for the "Pimpin'" video, Daniel Henry: He's been in London a day and a half already, but has spent it by himself in his hotel room watching movies a documentary about Apocalypse Now and Spring Breakersif you're interested.
It looms large in Vile's creative life, both figuratively and literally, and seems to represent something precious; a calmness and quietness, a peaceful alone-ness rather than isolation.
He's khrt returned to the banjo on the LPs second track "I'm an Outlaw" - the first instrument he learned to play. Vile says the music recorded in LA has a "laid back party vibe" to it, and he talks about the infamous Joshua Tree in almost spiritual language. I ask him if anything - lyrically or musically - is off limits now that he's a dad?
Kim Gordon perfectly sums up these conflicting sides of Vile and how they're mirrored in b'lieve: We're in a quiet Hackney pub, catching up before he plays a show under the railway arches around the corner.
Vile laughs the most at this last one: Sign up to get the next longread in your inbox Email: They're still in the pot, somewhere.
To do this, he planned the entire recording process around spaces that would allow it to happen. I wonder if opening track, "Pretty Pimpin'", its video featuring ever-increasing kuet of Vile, creating a creepy kind of claustrophobia, has anything to do with this sense of "myth making"?
It gets kind of intense when I'm working on a record, and I did get stressed out this time round. There's that dark humour again, and the contrast between "normal 35 year old guy", and father, and husband.
This couch is a recurring leitmotif; in press releases, in previous interviews, on the album and during our conversation.
Pretty Pimpin
You could write an angry song, that's an intense emotion too, but I don't write angry songs. Buy on iTunes pimpi Amazon. It's beautiful and intense and sort of mystical.
Athens is where my drummer Kyle lives, he'd been building up his home studio for a while. That's not to say the various locations - from Georgia to Brooklyn - didn't have an impact in other ways though.
Kurt Vile and melancholic existentialism
I was definitely feeling down when I wrote it, like 'Who am I? I wasn't throwing chairs at prety this time though It's beautiful and intense and sort of mystical But we shouldn't be fooled into thinking it's to do with growing older, or a yearning for youth, says Vile.
He reels them off: It's not surprising that song-writing, crafting tracks, at times very isolated undertakings, are where his strengths lie - Vile is someone who seems to value being alone.
To put it pumpin context, the line in question reads: It's a pretty long process but once it comes out it's really rewarding," he says. He sounds like he's had quite a few pimmpin of his vision lately, and is starting to take more of the creative direction into his own hands: It wasn't all heady mysticism though; in New York he felt like it prtty all going wrong.
The way he speaks, and the way the record sounds, it seems like Vile's trying to go back to something simpler, something he misses.
Him and his bandmates have a list of joke album titles they put together during b'lieve. With such a geographically wide-reaching recording process, and then a record to tour at the end of it, I wonder how Vile manages to handle being a father and husband?
The track certainly plays with the idea of identity and confusion:
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