Courtney Barnett & Kurt Vile – Lotta Sea Lice (Milk/Matador)

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The fact that Kurt Vile and Courtney Barnett are simultaneously an odd couple and sonic soulmates is what makes Lotta Sea Lice such a solid album.
The history of popular music is littered with his and her pairings. What makes this one so refreshing is that there are no grand delusions of dramatic romance or thinly veiled entendres said with a knowing wink. Rather, its two artists who mutually respect each other who use their album as a platform to discuss their craft. It feels intimate, like we’re overhearing a post-gig conversation between the pair set to their stereo-typically raw low-fi sound.

The duo paired up when Courtney was struggling with the follow up to her sensational 2015 debut album Sometimes I Sit and Think and Sometimes I Just Sit when Kurt Vile sent her a partially finished song. After hearing it, she invited him to her studio, the sessions became a tune which then spawned a languid album of compulsively listenable rock.

Opener Over Everything was the first song they worked on together, and a career highlight for both. Even before they open their mouths, the pretty melodic guitar work that twists and spirals up and down and back onto themselves establish a sense of togetherness, of call and response.

This song about songwriting highlights both Kurt and Courtney’s unique creative processes. Kurt is a loner, while Courtney “speed reads the morning news.” There is a sense of excitement about this song not dissimilar to two acquaintances realising the depth of their connection. Eventually they stop almost singing over each other in the final verse, harmonising as the breezy acoustic whips into a stormy outro.

The warm, organic production of this album gives this record a deceptively laidback feel in relation to its songwriting. Lyrically, Kurt’s style is rambling and surreal; while Courtney’s is precise and legible. Despite their different approaches, the reasoning behind songwriting is ultimately the same. They both use it as a way to cope with the absurdity of the 21st century and both use songwriting as a way to try and reach an inner peace that always alludes them.

Let It Go highlights the anxiety both artists have around the perpetual dichotomy between motivation and lethargy. Here, tension is expressed through the restless drum work juxtaposed against dewy guitar lines. It’s great to hear them cover each others work, with Courtney reworking Peepin’ Tomboy to Peepin’ Tom and giving it a brazen-yet-fragile feel. Kurt reciprocates spectacularly.  Courtney’s Out of the Woodwork is translated to “Outta Woodwork” and refashioned in an ominous American Gothic style.

Their voices work extremely well together, with Kurt’s slacker twang both harmonising and juxtaposing with Courtneys lazy, raspy drawl. Throughout the album they never step onto each others turf. We never really see Courtney’s wildness or Kurt’s enchanting hypnosis. It’s a record of equals, of a relaxed middle ground. And that definitely isn’t a bad thing.

Kate Powell

 

 

 

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