Kurt Vile, “(watch my moves).”

Kurt Vile’s music is anything but vile. If an artist’s surname were supposed to represent his musical style, then Kurt might change his to joy, because his latest effort is all beer and skittles. His ninth album, (watch my moves), is a consistent and effortless testament to Vile, Philadelphia’s self-proclaimed constant hitmaker, and his immense musical talent.

Vile, who looks like he could be the third veritable host of “Wayne’s World” alongside Garth and Wayne, is the musical vessel for the everyday lazybones and all of us that work from home. His melodious, sweet-sounding style will encourage you to take a break from the daily grind, fire up your tune box, and take a load off.

Vile describes the album as “fried pop” with a twist of twang. (Watch my moves) opens with “Goin on a Plane Today,” a folky tune driven by a bouncy piano. A trumpet and tenor saxophone flow around the piano, creating an uplifting consonance. Vile’s lyrics reflect the motif of the good life while singing, “Man, life can sure be fun/ Imagine if I knew this when I was young.”

“Flying (Like a Fast Train)” is an easy-listening tune with plucky guitar notes that leave room for improvisations and licks. Kurt Vile dances around the guitar, marrying classic twangy licks with controlled rock solos that explore the depths of the twangy tone. The drawn-out vocals and steady drumming evoke the feeling of movement while traveling like you can see the outlines of hills, dirt and any towns flashing by as you cruise along to the beat of the music in the crisp morning air.

The album features a pair of seven-minute masterpieces. Up first is “Like Exploding Stones,” a transcendent tune that begins with a soulful guitar riff paired with a synth. Long solos are punctuated by sharper single notes that dance around his vocals, singing “Goin’ woo/ Singin’ yeah.” The glassy mix of beautiful country sounds with a feedback-laden guitar and his moaning voice come together in complete psychedelia.

“Wages of Sin” is another seven minutes in heaven that will leave you wondering if instant karma’s gonna get you. “Wages of sin you keep me payin’/ Wages of sin for the wrongs that I’ve done and/ Wages of sin you keep me payin’/ Wages of sin… one by one,” Vile sings. His voice drifts along the way with a beautiful mix of country and rock. If the song rings a bell, it’s actually a cover of a 1998 Bruce Springsteen song on his album Tracks.

“Mount Airy Hill (Way Gone)” shows off Vile’s Bob-Dylan-esque vocals along with a more feminine side. He hits a high note when singing, “I’m gone,” but quickly transitions toward the Dylan-like lows during on another line: “Been gone but now I’m goin’ …down.” A racy solo on the slide guitar layers with a melodic four-note lick to create a mood that’s almost sad but in a freeing kind of way; like you’re moving on to better things.

Vile has said that the album is all about “moving forward and backward at the same time.” With that in mind, “Fo Sho” is the encapsulation of the album’s genesis. It starts with a synth that can only be described as “space age.” Vile plays more traditional rock notes that combine to create a slight distortion. The product is a fresh sound that is equal parts Neil Young and Jack White. The drumming also comes to life as Sarah Jones switches it up on the snares and toms, punctuating each section with symbols. The song rocks, fo’ sho’. Vile’s trouble-free solos show off his technical skills without overwhelming your ears.

This album is made of earth. If you have even a nerve of stress in your body, start up (watch my moves) and feel it all melt away.