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Alternatif et Indé - Released September 21, 2009 | Constellation

At the Cut reunites Vic Chesnutt with several of the collaborators who helped make his extraordinary 2007 album, North Star Deserter, and while you can't force lightning to strike twice in the same place, Chesnutt and this group of gifted musicians have managed to create something similarly powerful and affecting that also has a personality of its own. With Howard Bilerman behind the recording console, Guy Picciotto helping with the production and arrangements, and members of Silver Mt. Zion Orchestra accompanying Chesnutt, this follows a similar template to North Star Deserter, but At the Cut manages to sound more approachable and direct while still conjuring up striking and atmospheric clouds of sound that reinforce Chesnutt's melodies while broadening their horizons into something grand, beautiful, and challenging. Chesnutt doesn't need to bend his songs to the needs of his accompanists, and while a look at the lyric sheet reveals the same sort of skewed Southern gothic archetypes that have always dominated his compositions, these musicians bring out a side in the music that doesn't always rise to the surface in other hands, and the slow, contemplative shuffle of "We Hovered with Short Wings," the muscular dread of "Chinaberry Tree," and the sweet, twangy drift of "Concord County Jubilee" give his images just the backdrops they need. And lest anyone think the musicians are taking Chesnutt's music in a direction he wouldn't consider going himself, the closing number, "Granny," is as powerful and dramatic as anything that came before it, and it creates a large and vivid world with just Chesnutt's voice an acoustic guitar. At the Cut isn't as great a surprise as North Star Deserter, but if you thought the brilliance of that album was a happy accident, this confirms these musicians complement each other very well and hopefully will continue to do so for a long time to come. © Mark Deming /TiVo
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Alternatif et Indé - Released June 30, 2017 | New West Records

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Alternatif et Indé - Released August 21, 2001 | Velocette Records

Sounding more upbeat and a whole lot more soulful than on previous outings, Vic Chesnutt has invited the Dixie-fried experimental group Lambchop along with his wife Tina into the studio for his sixth album, a concept about a traveling salesman. Salesman and Bernadette sounds less like his usual doleful, sometimes baleful, Southern Gothic self and is perhaps his best recording yet. Chesnutt's is a vulnerable voice, and though he can project frailty, his M.O. isn't pity-inducing; in fact, he's quite humorous. "Duty Free" sounds like a New Orleans funeral march. The Lambchop horn section ape the Tijuana Brass to a hip-hop beat on "Replenished." "Maiden" has a sweet melody, driven by vibes and a very subtle horn line. "Until the Led" has the spunk and spirit of R.E.M.'s "Can't Get There from Here" and "So. Central Rain"; Chesnutt draws on that keening vocal quality that probably appealed to his early mentor, Michael Stipe, in the first place. But even R.E.M. in all their new experimentation would never have let the horns run to the border like they do here. The best thing of all is that Chesnutt's "new direction" still has a warm, organic and homespun quality -- the very things that were missing on then-recent recordings by his Athens, GA brothers. © Denise Sullivan /TiVo
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Alternatif et Indé - Released August 27, 2007 | Constellation

In his liner notes to Vic Chesnutt's North Star Deserter, Jem Cohen wrote, "I make films, I'm no record producer. But I needed to bring these particular people together in this particular place . . . I thought they might hit it off." Despite his lack of previous experience in the recording studio, Cohen's instincts were right on the money; he teamed Chesnutt with Thee Silver Mt. Zion Memorial Orchestra and a handful of other notable accompanists (including Fugazi's Guy Picciotto, Bruce Cawdron of Godspeed! You Black Emperor, and Chad Jones and Nadia Moss of Frankie Sparrow) for sessions at Montreal's Hotel2Tango Studios, and the result is a truly extraordinary recording. Chesnutt is a songwriter of singular talents, embracing a homey but keenly intelligent expressionism in his songs that conveys a genuine, often touching humanity, but his collaborators on North Star Deserter have taken his music in a powerful new direction. Rather than simply filling out Chesnutt's melodies, these musicians have crafted soundscapes that often turn these songs into great chaotic symphonies, with Chesnutt's simple but confident acoustic guitar anchoring the whole. Sometimes the accompaniment is simple and subtle, as on "Warm," "Over," and "Rattle," while elsewhere the musicians truly do resemble an orchestra; a small string section adds an air of ominous grandeur to "Glossolalia," a mighty organ brings striking dynamics on "Everything I Say," a mass of harmonies and reverb-soaked guitar meshes gloriously with "You Are Never Alone," washes of sound ebb and flow through the atmospheric "Rustic City Fathers," and the ensemble rises into a glorious fusion of beauty and noise on "Debriefing" and "Marathon." On North Star Deserter, the musicians working with Vic Chesnutt serve as collaborators rather than simple accompanists, and they've truly brought out the best in one another; this is powerful, adventurous music that's as challenging as it is beautiful, and ranks with Chesnutt's finest work to date. © Mark Deming /TiVo
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Rock - Released October 2, 2009 | Vapor Records

Only a few months after releasing his sophomore collaboration with Thee Silver Mt. Zion Orchestra, At the Cut, Vic Chesnutt has emerged with his second album of 2009, Skitter on Take-Off, and the two projects could hardly sound more different. While Thee Silver Mt. Zion Orchestra summoned a grand and gloriously idiosyncratic barrage of sound to accompany Chesnutt's songs, Skitter on Take-Off is a spare and minimal affair; Jonathan Richman and his longtime drummer Tommy Larkin produced these sessions, and though they offer understated support on a few songs (most audibly on the upbeat "Society Sue"), for the most part this is just Chesnutt's voice and acoustic guitar, cut live in the studio with a touch so light that at times it seems as if the microphones are eavesdropping on Chesnutt as much as capturing a performance. Chesnutt is an artist who is best served by emotionally direct performances, and the stark intimacy of Skitter on Take-Off largely works in his favor; the venomous whisper of "Dick Cheney" is all the more powerful for the fact there's so little to obscure it, and two lengthy tracks, "Rips in the Fabric" and "Worst Friend," give Chesnutt all the space he needs to spin his curious but compelling tales in all their richly detailed glory. Richman and Larkin are smart enough to know that Chesnutt is a one-of-a-kind songwriter and performer who doesn't need to have his work fussed with to work in the studio, but sometimes, Skitter on Take-Off feels rather too stripped down; the arrangements (or lack of them) give the songs an audio verite feel that's not unflattering, but the occasional interplay between Chesnutt, Richman, and Larkin is strong enough that it seems a lost opportunity that they didn't investigate it further. Skitter on Take-Off isn't perfect, but it ably documents just how remarkable Vic Chesnutt can sound essentially by his lonesome, and few artists could make two albums so different and so impressive within the space of a year -- truth to tell, most couldn't do it with five years at their disposal. ~ Mark Deming
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Folk/Americana - Released October 28, 2008 | Orange Twin

Alternatif et Indé - Released December 15, 2008 | New West Records

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Alternatif et Indé - Released April 22, 2017 | New West Records

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Bandes originales de films - Released July 31, 2009 | City Slang

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Rock - Released May 3, 2000 | Fundamental Records

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Alternatif et Indé - Released March 24, 2017 | New West Records

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Alternatif et Indé - Released February 10, 2017 | New West Records

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Alternatif et Indé - Released April 22, 2017 | New West Records

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Alternatif et Indé - Released July 14, 2017 | New West Records

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Alternatif et Indé - Released March 24, 2017 | New West Records

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Alternatif et Indé - Released July 14, 2017 | New West Records

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Alternatif et Indé - Released June 30, 2017 | New West Records

Variété internationale - Released May 23, 1995 | New West Records

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Alternatif et Indé - Released January 27, 2017 | New West Records

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Rock - Released February 10, 2017 | New West Records