There’s still a lot of that to sift through honestly. That was something I was interested in, because I don’t have much of a background in that. I’ve been working on a couple different things, brewing up new material for us and working on a few projects for different people. I was given an offer after two weeks from the initial interview. That’s what it is, like you said earlier. Yeah, they kind of established the model where if you want to make really good records, you basically have to start in the studio. Sound travels in a house. Then it was just kind of trimming from there. I was in my parent’s house. It really was just an organic process. We all just kind of process it part by part. For only the second time since 1997, the Yankees and Red Sox have agreed to a trade. What did you learn and like and not like? He watched a lot of YouTube tutorials. I’m kind of writing through all that period, just putting new material together. I just cut that out. It just has a lot of effects and things I like to do with records. they talk about a huge toronto show lets fucking go, New comments cannot be posted and votes cannot be cast. [laughs] Um, like whether I prefer long songs on the record? 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 … Just in my room, where I’m talking right now actually. It was certainly a shift. 1.8m members in the indieheads community. Do you want to reward all this work? When you rewrote it, did you just end up changing the structure and re-recording the whole song from scratch? I wanted to make it easy on Steve so that he knew what he was doing, so I let him run it that way essentially. The more votes your celebrities get, the higher their position! I moved to Seattle in 2014, and I was looking for a band. Different ways of recording too. 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. Yeah. There’s a lot, I’ve seen you mention a lot of classic rock bands, or Beach Boys, Pink Floyd, or whatever, where a lot of that work is laborious work in the studio to build something that kind of sounds organic and simple in the end, but was very intentional. 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. I kind of found out the hard way that that’s not what anyone wants. Then, afterwards we took it to his place and we mixed it there. Yeah. Right. I want it to be a little divorced from its time. A document. Yeah. 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. I mean, it’s always pretty slow going. My own discography ended up being peppered with stuff like that. Not so much, because I gave him the demos, and they were pretty much solid. Are you a fan of Willy's work? You probably were going to be touring all summer and promoting the record? 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? Yeah, I think it’s about even with any other program. Putting in the extra effort to rewrite it is not really worth it. Yeah. It’s not polished stuff, but that’s the stuff that it interests me more to listen to. That’s the one thing that’s pretty difficult to get anywhere else. Before quarantine started, we were practicing and figuring out ways of incorporating it in. Are you a fan of Willy's work? Yeah. 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. You just kind of have to have it in the back of your head if you’re making a longer track to have a plan B, if it does need to be that short. He was playing bass at the time. I think if you’re in a room and you’re playing something, it feels a certain way. That’s what I was working on during this time, during Denial. It was going to be a hybrid kit he was using. I would just be singing or screaming into it. I spent a long time just kind of brewing on different sounds and different songs that I might want to work on. I’m not going to try to do this the way that I had done previous records, because it was a different process. I think we’re seeing a lot of that ever since home computers were everywhere. The origin of your band name, isn’t that from recording sessions in the back of your car, trying to get some isolation? So Teens of Style was sort of an intro, if you just wanted the basics of where we were coming from, you could listen to that record. I caught up with Will to chat about self-producing and a tour-less summer. That was always the intent with it. That was where the struggle came from. Oh, funny. We would just focus on the energy that was between us at the time. That was really the only private space that I had. Yeah. If you say here’s the bulk of the song in the center, I feel like sometimes, or on the record you did with Steve Fisk [Teens of Denial] has the kind of beep-y loop sound and builds up…“Vincent,” is that right? I was putting out stuff on Bandcamp, and it got sort of a grassroots fanbase. So I’ve always been interested in breaking down the idea that once you put out the record, it’s done and then you move on. Neither I nor Andrew had any sort of schooling in terms of production. Is that true? Maybe it turns out very different after you’re playing it live for a while. Especially going into Teens of Denial, it was really difficult. Because I was starting with material that sounded super whack. I would combine that with samples with MIDI, with whatever we could put together on the computer, so it ended up being a real hybrid album between what we were doing in the studio and what we were doing at home. Those were the two that we ended up doing Teens of Denial at. I have to not be as interested in it as I was, because I won’t be able to get to do it for a year, but it’s always the sort of thing where you don’t want to plan too much before you go into it, because things always change once you’re doing it night-to-night. 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. Not bad. I took pictures of his mic setups. You need the mics and the room for it. Author: Jenson Strock Published: 6:39 PM EST November 13, 2020 If there’s some sort of compilation where an artist is coming in and redoing something, I’m interested in that. You change it or develop it as it goes along. Learn more about the Pre-Program Conservation Intern (Paid) position now! 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. How can we arrange the songs that way?” So even the songs that we chose; we were doing covers, and we were doing different songs, not necessarily promoting the record as well as we could have been, because it was mainly about having that energy on stage and having fun with it. A lot of times if you track live or something weird happens in the studio, you do end up with tracks that aren’t as perfect and polished as an engineering handbook would want it to be. You don’t go with your original instinct. Interview. I was using the laptop microphone. What was the exact structure? I did have tape recorders as well. Absolutely. That’s what I want to make a Car Seat Headrest record. I’m trying to learn from them more than I’m saying to help them out, because I think it is just a continuous learning process for me. I had to shorten it down a lot, yeah! Those songs just feel so organic, where they had the raw material, and then they would have some sort of idea when they took it into the studio what they were doing to it. How to mix it properly. It’s really like you want to start planning a few months before the tour is going to start, and then you have a certain amount of, you know, you have certain ideas of what you want to do, and then you can change it once you’re actually doing it. He got sent the demos, and it was a comfortable fit. 28 Year Olds. Just so much of the tools for that come on the computer, and if you’ve got a decent mic, that’s pretty much all you need, and a lot of practice on the program. It became a very different-feeling song, which in retrospect, I can understand why you wouldn’t want to part with the original, because it did end up so different. Everything Indie Music related; from the newest releases and news, to discussion on the history of alternative music. The last major tour that we did, we were playing with the band Naked Giants. How did you do some of that? It’s just going to be…. I mean, a lot of it, really the majority of this record, I associate with going to Andrew’s house to do it. then the 3rd interview was peer review interview. 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. What were you tracking the rest of the instruments with? We actually rewrote some of those songs to try and get them to the 3:30 mark. That another way of looking at like capturing where that’s at in that point in time. In the first record, Teens of Style, was that like a compilation of songs you’d already done that had been on Bandcamp? This one was relatively easy, because it’s pretty flat. In terms of recognition, Malcolm Toft's name is not as familiar within the pro audio world as, say, Rupert Neve's. I think we both just felt that’s going to be the setup. That was a 0-to-60 record. Me and Andrew [Katz, drums] were talking about that, because it felt like a really good track. This article is based on problems I've encountered repeatedly when mixing peoples' home-recorded tracks. Jacob Bloom was on it. Yeah. But yeah, there were a lot of, we’d go down a path and then have a weird, alternate version of something. A lot of it was laptop microphone. If you think of it like, “Oh, there’s no commercial potential, and this is where I’m going to just stretch out and do what I really feel like doing,” as opposed to trying to present something that’s digestible. Steve was just the right fit for allowing us to do that at the time. Um yeah. Everything Indie Music related; from the newest releases and news, to discussion … Arrangement, writing, singing. The process took 4+ weeks. It was really just kind of intentionally the lowest budget possible, the simplest option possible, and then just screwing with it in the mixing program. I wanted to revisit it. And the middle section, and that’s already two minutes gone. First Name Will. Something just kind of grows, and you trim it until it looks presentable. If you work on the demo and you get it to a certain point, you can never get it to quite the same feeling if you’re starting from scratch in the studio. Most Popular #26850. I didn’t worry too much about that end of it. I’d track everything else at home, and then get in the car and drive somewhere secluded and just sing however I wanted to. You charge up a laptop and you can get a couple hours off of it, so I’d bring it with me. It just has section after section and this long, guitar solo intro. It was a lot of everything at once. How do you find mixing in Ableton? 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. This was almost a successful exercise in generating a good comment, apparently it'll be updated after the album comes out to be less [REDACTED], I hope that [REDACTED] becomes a classic Indieheads [REDACTED], The giant block of Redacted in the middle is probably about whoever Twin Fantasy is actually about right, It's not really a secret that the album is about Cate Wurtz. We did that because Matador had sent us this edit that they did which was just incomprehensible to me, just like half of a verse, then the chorus, then the bridge. The band's name is a reference to Toledo's necessity of recording vocals in his car while still living at his parents’ home at the time. Yeah, it was a crazy stroke of luck. Yeah. But  yeah, the live show, I’m interested. What brought that around, and what was different about the process? Right around then, we put out an EP called How to Leave Town, which was just kind of extra material from the Teens of Denial stage. Yeah. I had one of those. 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. We were going to play at MASS MoCA, which is this museum in North Adams, Massachusetts. If your mind turns towards music as a way of entertainment, you can really get into the mode where you do spend a year making a record. But I’m just lazy, and I want to open up a blank program and already have something going, so Ableton is good for that. They want the exact same as the album version, but somehow twice as short. Yeah. Yeah. Will Toledo Popularity . That happened with Teens of Denial and it kind of happened with Twin Fantasy too when we re-recorded it in the studio. I thought I could do it a little better. Writing, recording, and mixing. First Name Will #31. 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. It was sort of a slow-growing thing. my advice is, to be honest! Well, it started out in Audacity, which is a free program, and then I got a Mac laptop which had GarageBand on it for free, and then I upgraded to Logic, which is like GarageBand but costs a couple hundred dollars. Ohio Gov. I want to make it the real thing itself, which is just difficult to do that with recorded music. I don’t want to make it feel like it’s sort of the document of the real thing. Did you first start doing a band after the Matador signing, like putting together a band to really play out after being signed? He's been a member of The Three O'Clock, Jellyfish and The Grays. 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