He's been a member of The Three O'Clock, Jellyfish and The Grays. 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. If there’s some sort of compilation where an artist is coming in and redoing something, I’m interested in that. It just grew and grew very slowly. There’s just a lot of ways to do it. First Name Will #31. 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. Everything Indie Music related; from the newest releases and news, to discussion on the history of alternative music. Interview. It’s not polished stuff, but that’s the stuff that it interests me more to listen to. It’s just going to be…. Writing, recording, and mixing. But yeah, Matador really came out of nowhere. I think in actual practice, that’s not how it works for a lot of artists. Do you think it’s also bringing a different energy to a live show? Both Andrew Katz and Will Toledo … Part of this album was a process of learning that, learning the sounds that are associated with that. Andrew had more of an EDM background to production. I mean, the other advantage of being young and having the equipment is that you’re bored pretty easily too. When you rewrote it, did you just end up changing the structure and re-recording the whole song from scratch? 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. 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. Ever since, we’re all trying to catch up. I’m way old, and when I was in high school, there weren’t even 4-track cassette decks. 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. First Name Will. Oh, funny. Yeah, pretty much all we kept in was the bridge, which is sort of the hook of the song. 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. 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. Studios in Seattle. Yeah. He was playing bass at the time. Right, or do secret shows, kind of get things ready? 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. All just stuff that I could do, because it was $10 to buy a tape recorder at Wal-Mart or whatever. I didn’t have any soundproofing. 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. It just has to have enough interesting stuff going on in it that if I come back later to it, there will be things that surprise me and interest me. He took me to I think three different Seattle studios. Yeah, I think so. A lot of the songs on the new record are like big exposition or catharsis. I was thinking that we could start with something smaller, but I didn’t have any connections, even in the smaller field. How did you do some of that? I had a good feeling about it. 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. If your biggest song ends up being a long one, you better be prepared to commit to that every night. If you’re an artist, you get to a certain point and record it in the studio, and then you go play it live. I was in my parent’s house. That’s going to happen on any program. electronic residency application service (eras) ERAS is a centralized residency application and document distribution service. Jacob Bloom was on it. I wasn’t really looking for a label. Really, I would lay down stuff on the computer, build it up in sort of MIDI demo form, but then if it had a good energy at that point, I wouldn’t want to deviate from that too much, because I’ve done it. Stuff like EQ and compression to me, I didn’t touch it for years. 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. At the time, reports circulated Alvarez and Co. were in Ohio to interview then-Toledo coach Matt Campbell. You have to think of that as what you’re arranging for and then arrange it appropriately. 10 minutes). I spent a long time just kind of brewing on different sounds and different songs that I might want to work on. That was what Teens of Style was. they talk about a huge toronto show lets fucking go, New comments cannot be posted and votes cannot be cast. And I liked what Steve Fisk had done. I don't think I'm ready to live in a world in which I know that galvanistic isn't a real word. That requires some back-and-forth. 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. Because I was starting with material that sounded super whack. 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. Yeah. Willy Toledo Interview. Just people online picking it up, circulating it, talking to their friends about it. I stayed on Logic up until about two years ago. Yeah. You’ve technically produced all the Car Seat Headrest records out there, except Teens of Denial with Steve Fisk [Tape Op #3]. How do you find mixing in Ableton? For only the second time since 1997, the Yankees and Red Sox have agreed to a trade. I kind of wear that on my sleeve. Yeah. Problems that we have with mixing are typically problems stemming from our lack of knowledge, rather than with the program. Right. What brought that around, and what was different about the process? Loved reading this... can't wait to hear the album. I mean, it’s always pretty slow going. We would do drums, and we’d do live tracking, but we would just kind of jam on the songs. Obviously every album’s got a couple of tracks that stretch out more. It was a lot of everything at once. It seems like you get a bit obsessive even though you’re able to let go. 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. Do you take a fair amount of time these days putting an album together? By request, Toledo wore it for the first half of the interview, which was conducted via FaceTime. Yeah, they kind of established the model where if you want to make really good records, you basically have to start in the studio. I did have tape recorders as well. The actor portrays Toledo, the wise piano player in “Ma Rainey’s Black Bottom.” ... Watch the exclusive video interview above. 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. Then it turns into something. Yeah, that’s ideal. 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. I was looking for a band to play with. Yeah. He was making his own stuff before joining Car Seat Headrest. I'm too lazy to think of a good "successful exercise in generating __" joke, so someone else is gonna have to do it. 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. You have to set everything up yourself. I know. More August 23 Birthdays. We lucked out where it happened at the same time. It's not rly a statement its more a chat conversation between him and his friend or something. The last major tour that we did, we were playing with the band Naked Giants. Then it’s just problem-solving in the mixing. Interview. Did you first start doing a band after the Matador signing, like putting together a band to really play out after being signed? I want to jump way, way back. 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. We want you to find a fulfilling career with Mettler-Toledo. Me and Andrew [Katz, drums] were talking about that, because it felt like a really good track. A lot of it was laptop microphone. He talked to Chris, and Chris was interested in Car Seat Headrest, so we ended up on the label. Does that work well for you guys? “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. really hope someone reads this and checks out drop-out, it's the best thing i read last year. It was just tracking live and then overdubbing from there, but everything had that core of the band performance to it. Learn more about the Pre-Program Conservation Intern (Paid) position now! It was about, “How can we match that energy?” or top it when it’s a smaller lineup again. We were at Avast! 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? Did Andrew start sections or trigger sounds? This one was relatively easy, because it’s pretty flat. I’m still just kind of getting the hang of how those tools can be used exactly. 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. They chose being in the studio, and the world is better for it, because they were able to figure a lot of stuff out. 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. I applied online. I think it was probably three years into Car Seat Headrest before I actually owned a microphone that I was using for recording purposes. Yeah. Yeah. You can just run in and start putting stuff together, start putting MIDI together. They were opening for us, and we also were on stage with them. Yeah. There’s still a lot of that to sift through honestly. 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. But I really don’t like messing with it too much or making it into something that’s very straightforward. This was in high school. Or, if you’re not touring, you might just record it, and then you get a better instrument or a better studio space. 3 interviews, first one was with human resources, then the second was with area supervisors. It was just material that had been on older records. I was just more of a performer in that regard. The process took 4 weeks. Something just kind of grows, and you trim it until it looks presentable. lmao this reminds me of that self indulgent japanese breakfast review from 2 years ago. We were going to expand the lights and the set design a little bit too. Kobe Bryant. I don’t want to make it feel like it’s sort of the document of the real thing. Yeah, you’ve gotta be rigid. But you do lose something too. 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. 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. Here is the videos we've found related to Willy Toledo interview. Yeah. That was where the struggle came from. 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 one of the main points for you is that it allows you to be creative faster, or to capture ideas faster. But if you’re laying it down and also you maybe want to play it live, you want to have that option, then you also have to make it in a way where you can sort of change it. Maybe it turns out very different after you’re playing it live for a while. Right. We all just kind of process it part by part. It was Seattle people, because I didn’t want to fly somewhere else and be doing the whole thing somewhere else. In terms of recognition, Malcolm Toft's name is not as familiar within the pro audio world as, say, Rupert Neve's. Will Toledo Fans Also Viewed . Had you reworked songs for that? He’s also the youngest guest to ever be on the Moment. The Ottawa Hills Board of Education will meet Thursday to interview several applicants for a vacant board position. I didn’t really have any industry connection at all until Matador came along. Yeah. How did they find out about you? I took pictures of his mic setups. Everything got derailed by the whole pandemic, right? Andy Biersack. How to mix it properly. Yeah. Rock Singers. But I think Ableton streamlined it, so it was easy to see what was going on and what we needed to fight basically. I interviewed at T-Mobile (Toledo, OH) in February 2009. You charge up a laptop and you can get a couple hours off of it, so I’d bring it with me. I mean, it’s always just, kind of starting from scratch once we start thinking about the live show. 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? https://tapeop.com/interviews/bonus/will-toledo-car-seat-headrest 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. You probably were going to be touring all summer and promoting the record? He would go off the kit, triggering samples straight-up, more like a DJ. I just always took advantage of that. We definitely got derailed. Rock Singer. What kinds of suggestions did he have on the basic tracking? David Bowie. 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. 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. Will Toledo Is A Member Of . Press question mark to learn the rest of the keyboard shortcuts. I had a set of demos that ended up being Teens of Denial. I was hoping that would happen at some point, but I had no idea how to look for one. That was going to kind of be our set up. Even stuff like YouTube tutorials, the engineer guys telling people how to mix, it’s all useful, and all it costs is your time. As long as they enjoy it. Andrew had been recommending it for years. I switched to Ableton. Willy Toledo Interview. 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? We were a three-piece at the time, and Ethan [Ives], who’s on guitar now, was on bass. In the first record, Teens of Style, was that like a compilation of songs you’d already done that had been on Bandcamp? That’s the one thing that’s pretty difficult to get anywhere else. 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 … 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. Rock Singer. Help this celebrity reach the TOP in all RANKINGS on the Internet! 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. Looking for a great internship opportunity at Toledo Museum of Art in Toledo, OH? [laughs] Um, like whether I prefer long songs on the record? Yeah. Someone who Chris Lombardi from Matador had worked with knew about Car Seat Headrest or had known for a couple records at that time. We’d go from having a very small audience to now a lot more people were going to be listening to it. Right now everything is just pushed back a solid year. That was something I was interested in, because I don’t have much of a background in that. Before quarantine started, we were practicing and figuring out ways of incorporating it in. They got in contact and said, “What are you up to? You go back to it, and you put the work in. 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. He watched a lot of YouTube tutorials. They were offering sort of a week of rehearsals, and then we could do a show to cap it off. One of them was Avast!, which is where we’re at now. Then it was just kind of trimming from there. I think if I wasn’t in an apartment, I would have a room dedicated to this, because it’s a drag to do everything in one room and not have a place to escape to. I’m not going to try to do this the way that I had done previous records, because it was a different process. Nonetheless, an interview over foot-long subs and Diet Cokes is still an interview. That’s what it is, like you said earlier. I had to shorten it down a lot, yeah! Especially going into Teens of Denial, it was really difficult. The rarest of trades: Red Sox, Yankees make deal. They did that with Let It Be, and then they ran into a bunch of trouble, because they wanted everything to be live, but then they realized it was a lot harder to make a good album like that. Three different Seattle studios of taught me, you ’ ve got ta be rigid were... Any sort of the main points for you is that build than you to. New Reddit on an old browser more to listen to about things—some strange, some amusing, some amusing some... 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