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First Name Will #31. Will Toledo Is A Member Of . That’s one reason why our latest record had shorter songs overall, but even the longer stuff, it’s longer in a sort of jammy way, where it’s flexible and you can shrink it a little or extend it depending on what the mood is. That was what Teens of Style was. In 2015 Car Seat Headrest signed to Matador Records, and recently released Making a Door Less Open, a stylistically divergent record containing elements of hip-hop, EDM and even doo wop. Our most recent record, Making a Door Less Open, I had the advantage when we signed to Matador, I already had Teens of Denial done, and I knew I wanted to revisit Twin Fantasy, so I had a long time to think of new material basically, of what we were going to do after Twin Fantasy. It’s nice to just be able to work with that as a grounding and also have the experience in case it’s not clean or if it’s not good. Loved reading this... can't wait to hear the album. Um yeah. Speaking to Will Toledo, the 23-year-old mastermind of Car Seat Headrest, as he's preparing to release his Matador debut Teens of Style, culled from his 11 Bandcamp releases over the course of five years, feels a bit awkward.This is primarily due to the fact that Car Seat Headrest are presently putting the wraps on their sophomore Matador release, Teens of Denial, recorded by Steve … Then I found out like half a year later that’s what they ended up putting out. That’s the one thing that’s pretty difficult to get anywhere else. You go back to it, and you put the work in. Are you a fan of Willy's work? There’s definitely a lot of back and forth. I did have tape recorders as well. I want to make it the real thing itself, which is just difficult to do that with recorded music. Will Toledo Fans Also Viewed . I was thinking that we could start with something smaller, but I didn’t have any connections, even in the smaller field. That requires some back-and-forth. You’ve technically produced all the Car Seat Headrest records out there, except Teens of Denial with Steve Fisk [Tape Op #3]. I wasn’t really looking for a label. Interview. A lot of it was laptop microphone. Andy Biersack. It’s not polished stuff, but that’s the stuff that it interests me more to listen to. I’m not going to try to do this the way that I had done previous records, because it was a different process. There was just a lot of that energy to it, just a couple of guys at home putting something together that sounded good on that set of speakers basically. Then once we finished Twin Fantasy, it was about two years that I was kind of thinking full-time about MADLO, and then one year when we were going through and putting everything together. And yeah, I rewrote a little bit. Especially going into Teens of Denial, it was really difficult. The day of my interview I made sure to arrive a few minutes early (approx. Right, or do secret shows, kind of get things ready? The plan is pick that up next summer. It's not rly a statement its more a chat conversation between him and his friend or something. We kind of got the versions that we needed for the album, and there’s still a lot of detours that exist that it would be interesting to go back and look at. Yeah, it was. I love that. Maybe it turns out very different after you’re playing it live for a while. You probably were going to be touring all summer and promoting the record? Ohio Gov. Yeah. At 24, Will Toledo is the lead singer-songwriter for one of this summer’s hottest bands, Car Seat Headrest. Did you take older songs and play them with Andrew and re-track them? I guess one of the main points for you is that it allows you to be creative faster, or to capture ideas faster. Yeah. How did they find out about you? Yeah, this morning I was making an edit for “There Must Be More Than Blood.” I just got word that maybe that’s going to be the next single for radio. It’s a lot simpler and more straightforward and kind of more fun to play.” The set up with a long song is that you just really have to commit to playing it when it’s on the set. There’s still a lot of that to sift through honestly. But how are you going to get it in that condensed format? It did not sound good. I’ll finish it and then I always just want to go back and re-do stuff and see if I can do it any better. Something like “Can’t Cool Me Down,” I laid down the drums and bass and these vocals for the chorus, and all of that pretty much got kept from the original demo to the final form. You figure out pretty quickly what songs work and what songs don’t, and you have to adjust from there. Matador wasn’t thinking about it at the time, but I think some DJ said, “Hey, it could be good,” so they changed their mind, and now they’re asking for it. You can get a way more professional sound in a bedroom than you used to be able to. Our interview series Icebreaker features artists talking about things—some strange, some amusing, some meaningful—that just might reveal their true selves. We make the record, and then when it comes time to putting the show together, we really just have to think about what’s in the room, who’s in the lineup at the time. Jacob Bloom was on it. Just in my room, where I’m talking right now actually. It probably helps too to have a drummer who understands that music and has both backgrounds but isn’t going to be like, “I wanted real drums on this part.”. You charge up a laptop and you can get a couple hours off of it, so I’d bring it with me. Virgos. That’s going to happen on any program. New York is sending Adam Ottavino to Boston. Definitely. So this time, shrinking back, we had agreed with Naked Giants that it was just going to be for Twin Fantasy, so now we were shrinking back into a smaller outfit. i guess that's what you have to expect with this guy now though. What did you learn and like and not like? I knew we were going into the studio, and I didn’t want to act like I knew what I was doing, because I knew that I didn’t. I remember some sort of setup where I would be recording onto tape, then setting up a computer microphone to get it on the computer, and then overdubbing, like having a different tape and recording that in and ending up with these overdubbed tape things. That’s what I want to make a Car Seat Headrest record. They were offering sort of a week of rehearsals, and then we could do a show to cap it off. You don’t go with your original instinct. It’s like, “We’re going to be together on tour playing this, so let’s make sure that we’re happy with those parts, how we’re playing it live when we’re on tour.” As far as the record is concerned, I don’t think they’re going to be listening to it on a daily basis, so if a guitar part gets subtracted or its computer drums instead of live drums, no one’s going to be upset because that doesn’t affect them as much as what we’re doing live. Yeah. Whatever the initial feeling was that sparked it and made me feel like it was a good song or good material, to just preserve that. It was really probably one of the worst places to sing in in terms of acoustics or anything, but all I wanted was the energy of being somewhere where no one could hear me. 1.8m members in the indieheads community. But you do lose something too. I interviewed at T-Mobile (Toledo, OH) in February 2009. Actually I got really mad once, because “Drunk Drivers/Killer Whales,” we did a rewrite of that and spent all this time getting it down to three and a half minutes. The Ottawa Hills Board of Education will meet Thursday to interview several applicants for a vacant board position. I think it was probably three years into Car Seat Headrest before I actually owned a microphone that I was using for recording purposes. It was just material that had been on older records. We’d just done a couple of cassette runs, one-offs with people who were interested in doing that. And I liked what Steve Fisk had done. You can be flexible with it. That’s been kind of my downfall on a lot of material. I’m kind of writing through all that period, just putting new material together. They didn’t even bother promoting our rewrite. Just maybe kind of visualize excising certain sections almost? Yeah. I’m in a chat right now with some younger musicians who are doing the exact same thing. I had already recorded a couple records under a different name, and I was starting Car Seat Headrest just conceptually as sort of a different project; more experimental. Yeah, that’s ideal. All just stuff that I could do, because it was $10 to buy a tape recorder at Wal-Mart or whatever. Did you first start doing a band after the Matador signing, like putting together a band to really play out after being signed? 28 Year Olds. I think we both just felt that’s going to be the setup. The listener never knows or cares where it came from, right? That would have been the first time we were really able to do a dress rehearsal for a tour. Hopefully you do see more artists making it in, getting a break or coming into some sort of more mainstream recognition that you know, has that background where they’re making the weirder stuff. It was an easy fit. Long before he formed the influential band Medicine, he played drums, guitar,... Wayne Peet is an accomplished pianist/keyboardist and a first call player in the jazz/new music/avant-garde scene in Los Angeles, but he's also known as an excellent recordist, mixer, mastering... What do bands like Red Red Meat, Califone, Souled American, Fruit Bats, Drumhead, Orso, Cash Money, Chris Mills, Modest Mouse and Ugly Casanova have in common? I don't think I'm ready to live in a world in which I know that galvanistic isn't a real word. That sounds very much like the Car Seat Headrest way. I’ve been working on a couple different things, brewing up new material for us and working on a few projects for different people. He watched a lot of YouTube tutorials. I’d track everything else at home, and then get in the car and drive somewhere secluded and just sing however I wanted to. Absolutely. Interview. 3 interviews, first one was with human resources, then the second was with area supervisors. And so now, working in a more normal mode, you start off with tracks that are clean, and then I don’t take it for granted when it is clean. It really was just an organic process. It felt definitely like the core of it was all live, like we had control over what was going on, but we just had these certain sections where it was going to sound different. We would just focus on the energy that was between us at the time. That was really the only private space that I had. But yeah, it’s been a weird downtime for sure. We were working on Pro Tools, which I hadn’t worked on before, so my contributions were maybe a little bit more clumsy and basic than they would have been otherwise. Producer/engineer Brian Deck for one.... Adrian Younge & Ali Shaheed Muhammad: Scoring Luke Cage and Beyond, Fix it Before the Mix #3: A Stitch in Time Saves Nine, Marcella Araica: The Incredible Journey of "Ms. Lago", Jason Falkner: Home studio wizard & songwriter, Eddie Kramer: Recording Hendrix and teaching future engineers, Brian Deck: Modest Mouse, Red Red Meat, Califone, Orso. “That’s going to be the structure that we’re working off of.” He just did his thing and I mostly tried to track on it. That was where the struggle came from. advertisements. Everyone in the band is just so flexible about what appears on the record. then the 3rd interview was peer review interview. 131 votes, 36 comments. I was hoping that would happen at some point, but I had no idea how to look for one. I thought I could do it a little better. The formatting is as lofi as the original TF. Then it turns into something. It was just a matter of good parts of the demo stay, and the parts that are just filler or aren’t fleshed out, just fleshing those out in whatever way we can, playing it live to get a feel for it, rewriting lyrics, recording different parts. When you rewrote it, did you just end up changing the structure and re-recording the whole song from scratch? Earlier, I was having to do more of a set-up, to try to get the effect that you can really do pretty easily with Ableton. Kind of backwards from how anyone else would recommend it I think. That ended up attracting Matador. Andrew had been recommending it for years. Steve was just the right fit for allowing us to do that at the time. For me, it’s all a process. It was about, “How can we match that energy?” or top it when it’s a smaller lineup again. We were in the process of going through the record and deciding what samples we wanted to pull and what would be better as a live kit. The last major tour that we did, we were playing with the band Naked Giants. What was the exact structure? We’re going to be using a click and still will, at some point. Yeah, we had done Teens of Style and it sort of felt like I’d gotten to the point where I couldn’t self-produce anymore, at least the way I was doing it. Neither I nor Andrew had any sort of schooling in terms of production. I have the time to put stuff together and decide it doesn’t work, take it apart, put it together again, and just be going back and forth for a while during any album process. I think that we kind of connected right away on what needed to be different from the demos and what it was going to be like. He took me to I think three different Seattle studios. I’ll kind of get half an idea, and then I’ll open up Ableton and start recording. I greeted them and we immediately jumped into a routine of questions and answers; a routine that was probably very familiar to them, given that their jobs revolve around this very thing. But that’s just what it is, what this project has turned into. Yeah. But yeah. It kind of taught me, you know, it forced me to figure out a lot of stuff on the DAW. I was in my parent’s house. We actually rewrote some of those songs to try and get them to the 3:30 mark. Andrew was on it. really hope someone reads this and checks out drop-out, it's the best thing i read last year. He was playing bass at the time. But the verse and chorus was very much abbreviated. The benefit is that it’s easier in that way. Arrangement, writing, singing. Toledo Blade journalists say an edict came down ordering the staff not to call rioters in the Capitol "Trump supporters" in Web headlines. That would be nice. Sound travels in a house. my advice is, to be honest! Writing, recording, and mixing. But definitely once I start getting toward the end of the process and you have to put the period on it, then it does help me to just think you know, it is just a document of that particular period in time, and it doesn’t have to be perfect. Press question mark to learn the rest of the keyboard shortcuts. He talked to Chris, and Chris was interested in Car Seat Headrest, so we ended up on the label. That gave me the background that I needed to start figuring out what I wanted to do with music. The more votes your celebrities get, the higher their position! 10 minutes). It did not sound clean. They want the exact same as the album version, but somehow twice as short. That’s what it is, like you said earlier. That’s a really nice way, like a leg up so-to-speak, because it’s an established indie label and a stamp of quality. He co-wrote, produced, and... 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