Arrangement, writing, singing. But yeah, we fit together well. We gave Andrew a kick pedal that just triggers samples. It’s just going to be…. For the most part I kind of stayed faithful to the song structures that were there. I spent a long time just kind of brewing on different sounds and different songs that I might want to work on. So it’s just kind of a song-by-song thing. Yeah, we upgraded our equipment. Will Toledo of Car Seat Headrest goes shopping at Amoeba Music in Los Angeles. Yeah. If you can add synths it just gives you a lot more to play with, even if you have a limited amount of members. I wasn’t really looking for a label. I had one of those. The more votes your celebrities get, the higher their position! Really, we would just go in and mostly do drums in the studio. At 24, Will Toledo is the lead singer-songwriter for one of this summer’s hottest bands, Car Seat Headrest. ; CRITICAL: Due to the new anti-spam software being utilized by the University of Toledo multiple important AAMC and ERAS emails are being filtered out.You MUST create a Gmail account to use for ERAS in order to not miss important information and interview invitations. The actor portrays Toledo, the wise piano player in “Ma Rainey’s Black Bottom.” ... Watch the exclusive video interview above. 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. They were opening for us, and we also were on stage with them. I think we’re seeing a lot of that ever since home computers were everywhere. You can just run in and start putting stuff together, start putting MIDI together. 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. You charge up a laptop and you can get a couple hours off of it, so I’d bring it with me. He watched a lot of YouTube tutorials. David Bowie. I want to make it the real thing itself, which is just difficult to do that with recorded music. That gave me the background that I needed to start figuring out what I wanted to do with music. Do you take a fair amount of time these days putting an album together? then the 3rd interview was peer review interview. We’d go from having a very small audience to now a lot more people were going to be listening to it. Yeah, that was the main thing. I mean, it’s always pretty slow going. It would all just happen kind of organically, you know, just going back to that session I mean for the most part, he wouldn’t work on it without me, and I’d give him the go-ahead, or I’d come over and we’d work on it. Then it was just kind of trimming from there. A lot of times there’s a big kind of catharsis at the end. I wanted to be able to sing and not feel like the rest of the family is listening in, so I just started going in the car. That wasn’t the case — Campbell was actually in Idaho at the time for a bowl game — but Clawson certainly wasn’t going to correct the record. They got in contact and said, “What are you up to? That’s something that I always wonder. How did they find out about you? But I really don’t like messing with it too much or making it into something that’s very straightforward. It was going to be a hybrid kit he was using. Rock Singer. They want the exact same as the album version, but somehow twice as short. This article is based on problems I've encountered repeatedly when mixing peoples' home-recorded tracks. Oh, funny. Sound travels in a house. 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. I'm too lazy to think of a good "successful exercise in generating __" joke, so someone else is gonna have to do it. More August 23 Birthdays. The process took 1 day. It was an easy fit. I think that you do see a lot of people doing it like that. 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. You go back to it, and you put the work in. 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. “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. 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. I wish everything Will Toledo did felt less like a [REDACTED] in generating [REDACTED] and [REDACTED] and more like an artist who [REDACTED]. Me and Andrew [Katz, drums] were talking about that, because it felt like a really good track. In terms of recognition, Malcolm Toft's name is not as familiar within the pro audio world as, say, Rupert Neve's. It was just vocals there. Someone who Chris Lombardi from Matador had worked with knew about Car Seat Headrest or had known for a couple records at that time. 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. As long as it doesn’t turn into just a mess of cables and pre-programmed parts live, I think we’re all going to stay happy with what’s going on. I mean, it’s always just, kind of starting from scratch once we start thinking about the live show. 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. 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. Rock Singer. All just stuff that I could do, because it was $10 to buy a tape recorder at Wal-Mart or whatever. We would do drums, and we’d do live tracking, but we would just kind of jam on the songs. First Name Will. His voice and instrumentation appear on albums by Beck, Susanna Hoffs, Eric Matthews, Aimee Mann, and Air. 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. I was approaching it kind of hands-off. 3 interviews, first one was with human resources, then the second was with area supervisors. I was writing a lot of stuff, and How to Leave Town kind of became stuff that didn’t fit on Teens of Denial. He's been a member of The Three O'Clock, Jellyfish and The Grays. 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. But the verse and chorus was very much abbreviated. I was focusing on getting a band, getting a live show together, and so by the end of 2014, I was working with Andrew, his friend Jacob [Bloom] was on bass, and we had sort of a three-piece going. https://tapeop.com/interviews/bonus/will-toledo-car-seat-headrest 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. That was a 0-to-60 record. 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. Interview. Yeah. Whatever that idea is, if I can track a guitar part, if I have a beat in mind to go with it, I’ll just quickly open up a MIDI track and drag some drums in there and program it to go along with that. i guess that's what you have to expect with this guy now though. I know. It did not sound good. 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. Right. Will Toledo Popularity . We would just focus on the energy that was between us at the time. 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? Or, if you’re not touring, you might just record it, and then you get a better instrument or a better studio space. I was using the laptop microphone. Andy Biersack. What did you learn and like and not like? Yeah. Yeah, I think so. The listener never knows or cares where it came from, right? The Ottawa Hills Board of Education will meet Thursday to interview several applicants for a vacant board position. There’s definitely a lot of back and forth. 10 minutes). My own discography ended up being peppered with stuff like that. So a lot of what we did there was just, “What can we do with seven people? I wanted someone who knew what they were doing in the studio and who I felt like I could work with, so Matador sent a list of names. Yeah. I really wanted with MADLO to keep that demo feeling all the way to the end. He’s also the youngest guest to ever be on the Moment. Does that allow you to move on a little quicker in the recording process, to let go? It was a lot of everything at once. Yeah. Right, just capture what’s in the room. I think in actual practice, that’s not how it works for a lot of artists. So we would track like that and then we would leave the studio, and I’d listen to it after the session was over, and then I’d pull it apart and see what I could use and what I couldn’t use. Do you want to reward all this work? Was he getting in on tempos and structures and keys and things like that? I was just more of a performer in that regard. It's not rly a statement its more a chat conversation between him and his friend or something. The origin of your band name, isn’t that from recording sessions in the back of your car, trying to get some isolation? 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. So he would be at the computer and then we’d switch, and I would be at the computer. 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. The site may not work properly if you don't, If you do not update your browser, we suggest you visit, Press J to jump to the feed. I used to just write without any sort of consideration for either commercial appeal or playing live. You can be flexible with it. Had you reworked songs for that? Yeah. We were a three-piece at the time, and Ethan [Ives], who’s on guitar now, was on bass. We confused a lot of people, because we were playing it live before it came out, and they were sort of expecting a big rock version, but instead they got the original basically. It was just a process of I would add a little bit to what was there, but we really did end up with just stuff that felt more-or-less live. 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 … I think that the practice of going on tour is really what’s changed how I write the most, because if you’re just laying it down for a record, then you can get it perfect once and not have to worry about it anymore. Not bad. That was going to kind of be our set up. This was in high school. That was really the only private space that I had. If there’s some sort of compilation where an artist is coming in and redoing something, I’m interested in that. Absolutely. Part of this album was a process of learning that, learning the sounds that are associated with that. Teens of Denial, we had the demos and went in and re-recorded everything in the studio. 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. I was given an offer after two weeks from the initial interview. How to mix it properly. It was sort of a slow-growing thing. Just in my room, where I’m talking right now actually. It just does a lot of what I want it to do. Teens of Denial, that material felt like it had to be brought into a studio, which we hadn’t done up until that point. Yeah. Are you a fan of Willy's work? If you can’t be flexible with a song at all, if it only really works in this one way, then it’s not any fun to do live, because you just have to stick to that grid. The plan is pick that up next summer. I did have tape recorders as well. He co-wrote, produced, and... Eddie Kramer worked humbly with the students of Terry Setter's Advanced Audio Engineering class at The Evergreen State College for four days. 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. 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, afterwards we took it to his place and we mixed it there. But you do lose something too. I don't think I'm ready to live in a world in which I know that galvanistic isn't a real word. advertisements. 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. They didn’t even bother promoting our rewrite. I was putting out stuff on Bandcamp, and it got sort of a grassroots fanbase. New York is sending Adam Ottavino to Boston. We want you to find a fulfilling career with Mettler-Toledo. Will Toledo Fans Also Viewed . Then it’s just problem-solving in the mixing. scrolled around the interview, some extremely bad strokes takes in here. The formatting is as lofi as the original TF. Ohio Gov. 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. A lot of the songs on the new record are like big exposition or catharsis. Were you using like a laptop and running it off of your batteries? 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. It did not sound clean. I wanted to revisit it. I mainly went by ear, read what other bands I liked were doing, and tried to do that. How do you find mixing in Ableton? Did you first start doing a band after the Matador signing, like putting together a band to really play out after being signed? Steve was just the right fit for allowing us to do that at the time. Rock Singer. He took me to I think three different Seattle studios. 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. 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. What program were you working in before that or are you working in still? There are a lot of programmed drums or samples or loops or drum machines, different things on the record too, right? What began as the solo project of front man Will Toledo, Car Seat Headrest initially released a series of lo-fi and experimental albums on Bandcamp. Definitely. 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. Yeah. 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. In Ableton, there’s a lot where it is set up. That was it for a long time. It seems like maybe there are more opportunities there. Writing, recording, and mixing. I’d have the structures set up. Yeah. Is that kind of hard, taking a song that you’ve spent a fair amount of time getting to where you like it there for the album obviously, and then trying to excise parts of it just to get the length down? Most Popular #26850. 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.”. I did not. Yeah, that’s ideal. You put out a record or a song at a certain point, but that doesn’t necessarily mean it’s the only version of it, or it’s the best version of it. But yeah, Matador really came out of nowhere. I applied online. One of them was Avast!, which is where we’re at now. But yeah, there were a lot of, we’d go down a path and then have a weird, alternate version of something. They were interested in starting their own label and working with Car Seat Headrest, but they contacted Chris first and they kind of had an agreement where they weren’t going to steal artists from one another if they were interested. It really was just an organic process. Nonetheless, an interview over foot-long subs and Diet Cokes is still an interview. But yeah, the live show, I’m interested. You had records out on Bandcamp. Andrew had been recommending it for years. Just maybe kind of visualize excising certain sections almost? I think just sharing as much as you can is the way forward. That’s been kind of my downfall on a lot of material. The process took 4 weeks. I just always took advantage of that. Yeah. It’s easier to process as an album. 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. I’m not going to try to do this the way that I had done previous records, because it was a different process. I might have been planning on that even before Matador came along. If your biggest song ends up being a long one, you better be prepared to commit to that every night. I was thinking that we could start with something smaller, but I didn’t have any connections, even in the smaller field. Interview. We all just kind of process it part by part. Yeah. I mean, a lot of it, really the majority of this record, I associate with going to Andrew’s house to do it. There’s just a lot of ways to do it. lmao this reminds me of that self indulgent japanese breakfast review from 2 years ago. It was Seattle people, because I didn’t want to fly somewhere else and be doing the whole thing somewhere else. I think that’s just the way it shook out with Car Seat Headrest. Yeah. There’s still a lot of that to sift through honestly. It seems like you get a bit obsessive even though you’re able to let go. It came to be in the studio, rather than coming to be in a live setting, and then you try to take it into the studio and capture it that way. Something just kind of grows, and you trim it until it looks presentable. I hadn’t heard of him before, but I knew some of the artists he’d worked with, and I liked the feeling, I liked the bands that he chose to work with, and I liked what he did with them. You were self-recording and self-releasing. Problems that we have with mixing are typically problems stemming from our lack of knowledge, rather than with the program. As soon as I started really using Ableton, it definitely clicked with me, and I couldn’t go back to anything else. I think the hardest thing you can do is put that on record, so I kind of just try to make stuff that has that feel, even if it’s not performed live. It’s just the point that you got to with it at the time. I stayed on Logic up until about two years ago. We lucked out where it happened at the same time. Maybe it turns out very different after you’re playing it live for a while. Obviously every album’s got a couple of tracks that stretch out more. And the middle section, and that’s already two minutes gone. We definitely got derailed. Is that true? I want it to be a little divorced from its time. As long as they enjoy it. I interviewed at Mettler-Toledo (Oakland, CA) in July 2016. Different ways of recording too. A lot of it was laptop microphone. You figure out pretty quickly what songs work and what songs don’t, and you have to adjust from there. Then it turns into something. They chose being in the studio, and the world is better for it, because they were able to figure a lot of stuff out. Before quarantine started, we were practicing and figuring out ways of incorporating it in. I didn’t really have any industry connection at all until Matador came along. Especially if radio chooses a longer song, I think what you want is that build. Someone like The Beatles, I feel like they kind of got to a crossroads as far as playing live or being in the studio. I didn’t worry too much about that end of it. I want to spend the time, and I think you need about a year at least, working full-time on a record, to make it something that you can really go back to, over and over again, outside of that context. Neither I nor Andrew had any sort of schooling in terms of production. Andrew had more of an EDM background to production. You change it or develop it as it goes along. It just has section after section and this long, guitar solo intro. Because I was starting with material that sounded super whack. 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. This one was relatively easy, because it’s pretty flat. Yeah. I just cut that out. I’ve been working on a couple different things, brewing up new material for us and working on a few projects for different people. My friend used to say, “Play the longest song on any album, because that’s what they really want to be doing.” Is that the case for you? You probably were going to be touring all summer and promoting the record? That would have been the first time we were really able to do a dress rehearsal for a tour. It just has a lot of effects and things I like to do with records. I think it was probably three years into Car Seat Headrest before I actually owned a microphone that I was using for recording purposes. Willy Toledo Interview. You have to think of that as what you’re arranging for and then arrange it appropriately. Yeah, pretty much all we kept in was the bridge, which is sort of the hook of the song. I interviewed at ProMedica (Toledo, OH) in February 2019. In the first record, Teens of Style, was that like a compilation of songs you’d already done that had been on Bandcamp? Everyone in the band is just so flexible about what appears on the record. We’re going to be using a click and still will, at some point. He was playing bass at the time. Did you take older songs and play them with Andrew and re-track them? advertisements. I switched to Ableton. 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. Author: Jenson Strock Published: 6:39 PM EST November 13, 2020 The process took 4+ weeks. I wasn’t going for clean, but I wanted sounds that were interesting to me. It has that feel where it’s being created in front of you basically. I had this little computer microphone, if you bought a PC in the ‘90s, it would come with a basic microphone. 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. And I liked what Steve Fisk had done. 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. I’m kind of writing through all that period, just putting new material together. Stuff like EQ and compression to me, I didn’t touch it for years. 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. Andrew was on it. That was kind of one of the reasons why we were leaning more electronic, because that really adds to the palette if you can have live drums and then switch and trigger samples. In between each interview I had things to do like drug test and a survey. 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. I had a set of demos that ended up being Teens of Denial. Mostly at Soundhouse, because it was cheaper. Especially going into Teens of Denial, it was really difficult. But how are you going to get it in that condensed format? So I just would really screw with stuff until it started to sound interesting. Yeah, they kind of established the model where if you want to make really good records, you basically have to start in the studio. But actually after we rewrote it, the band was like, “I wish we could just play this version. What was the exact structure? Right. Right, or do secret shows, kind of get things ready? At the time, reports circulated Alvarez and Co. were in Ohio to interview then-Toledo coach Matt Campbell. Yeah. I took pictures of his mic setups. That happened with Teens of Denial and it kind of happened with Twin Fantasy too when we re-recorded it in the studio. We were at Avast! Virgos. Taylor Momsen. I would have a demo ready, but we wouldn’t try to get it all the way there in the studio. What are your plans?” Luckily, we had the band, and we were able to invite them out to a show, so everything kind of took off at the same time. I’d track everything else at home, and then get in the car and drive somewhere secluded and just sing however I wanted to. But that’s just what it is, what this project has turned into. Yeah, that got delayed too. For only the second time since 1997, the Yankees and Red Sox have agreed to a trade. But yeah, it’s been a weird downtime for sure. 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. You’ve technically produced all the Car Seat Headrest records out there, except Teens of Denial with Steve Fisk [Tape Op #3]. The original TF is good though, this formatting isn't. What is the impetus for revisiting and rewriting, rebuilding, or even on the new record, there’s three versions of the one song, right? It’s not polished stuff, but that’s the stuff that it interests me more to listen to. For me, it’s all a process. When you rewrote it, did you just end up changing the structure and re-recording the whole song from scratch? I think if you’re in a room and you’re playing something, it feels a certain way. 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. 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. Yeah. 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. You’ve got a few. Regularly throughout the year he travels to schools and... Brad Laner is a multi-instrumentalist, composer, engineer, and producer whose discography is as varied as it is in size. It was certainly a shift. That’s going to happen on any program. We actually rewrote some of those songs to try and get them to the 3:30 mark. One of them was Soundhouse, which we did most of Teens of Denial at. Toledo Blade journalists say an edict came down ordering the staff not to call rioters in the Capitol "Trump supporters" in Web headlines. Studios in Seattle. I guess if you know what you’re doing on any program, I think you can get that template. Looks like you're using new Reddit on an old browser. You don’t go with your original instinct. That’s how I was coming up. The rarest of trades: Red Sox, Yankees make deal.