Kurt Vile’s songs often begin in the middle of a story, leaving laid-back ideas to hang in the air without explanation. Philadelphia’s Been Good to Me starts with mumbling, plainspoken lyrics that feel familiar and unforced. The album relies on Vile’s established position as an elder statesman of indie rock and avoids airs or audience performance. It does not labor points or chase tacky radical departures in sound or style. Instead, it remains emphatically a Kurt Vile record: loose, lush, ambling, aimless, and deeply poetic. Vile’s earlier trilogy helped define him as a beloved, iconic figure known for virtuosic yet unbothered music and understated realness.
"These days, Kurt Vile songs begin in the middle of the story. In the third decade of his career, the journeyman musician seems even more content than ever to ride his own wave, to let his laid-back koans sit in the air without explanation or context, waiting for a listener to find the right frequency to understand or absorb them in their own time."
"Philadelphia's Been Good to Me relies on the fact that Vile, 46, is an elder statesman of indie rock at this point, and that it would be downright strange for him to put on any airs, or even for him to sound as if he was performing for any kind of audience. The album never labours its points or trades in anything so tacky as radical departures in sound or style."
"It is, emphatically, a Kurt Vile record loose, lush, ambling, aimless, and totally, deeply poetic, bruh. He broke out in the early 2010s with a trilogy of records 2011's Smoke Ring for My Halo; 2013's Wakin on a Pretty Daze; 2015's B'lieve I'm Goin Down that established him as one of indie rock's most beloved, easily iconic figures."
"Although never as flashy or famous as those peers, Vile has maintained a level of consistency like few of his contemporaries, while refining and complicating that dirtbag shaman image. Kurt Vile: Chance to Bleed review Tap into Philadelphia's Been Good to Me and you will find that Vile sounds as alarmi"
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