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I wasn’t really looking for a label. But I think Ableton streamlined it, so it was easy to see what was going on and what we needed to fight basically. You can just run in and start putting stuff together, start putting MIDI together. Something just kind of grows, and you trim it until it looks presentable. 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 was just more of a performer in that regard. He's been a member of The Three O'Clock, Jellyfish and The Grays. 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. Maybe it turns out very different after you’re playing it live for a while. Someone who Chris Lombardi from Matador had worked with knew about Car Seat Headrest or had known for a couple records at that time. one phone screen interview for background one in-person to meet the hiring manager 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. 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. That’s how I was coming up. It seems like you get a bit obsessive even though you’re able to let go. 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. The actor portrays Toledo, the wise piano player in “Ma Rainey’s Black Bottom.” ... Watch the exclusive video interview above. Me and Andrew [Katz, drums] were talking about that, because it felt like a really good track. Our interview series Icebreaker features artists talking about things—some strange, some amusing, some meaningful—that just might reveal their true selves. 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. After I applied online it was about two weeks before I received a phone call. then the 3rd interview was peer review interview. I’m kind of writing through all that period, just putting new material together. I’d have the structures set up. I thought I could do it a little better. I had this little computer microphone, if you bought a PC in the ‘90s, it would come with a basic microphone. I was approaching it kind of hands-off. 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. When you rewrote it, did you just end up changing the structure and re-recording the whole song from scratch? Yeah, they kind of established the model where if you want to make really good records, you basically have to start in the studio. 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. I think that you do see a lot of people doing it like that. It’s just going to be…. 10 minutes). Yeah. Problems that we have with mixing are typically problems stemming from our lack of knowledge, rather than with the program. Yeah. The listener never knows or cares where it came from, right? You go back to it, and you put the work in. It was just tracking live and then overdubbing from there, but everything had that core of the band performance to it. I don’t want to make it feel like it’s sort of the document of the real thing. I spent a long time just kind of brewing on different sounds and different songs that I might want to work on. 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. 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. You probably were going to be touring all summer and promoting the record? 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. 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. Ohio Gov. scrolled around the interview, some extremely bad strokes takes in here. We were going to play at MASS MoCA, which is this museum in North Adams, Massachusetts. I'm too lazy to think of a good "successful exercise in generating __" joke, so someone else is gonna have to do it. Yeah. The formatting is as lofi as the original TF. You can be flexible with it. 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. 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. The Ottawa Hills Board of Education will meet Thursday to interview several applicants for a vacant board position. Yeah, it was a crazy stroke of luck. So a lot of what we did there was just, “What can we do with seven people? I just always took advantage of that. The process took 4+ weeks. Where do you work at in your home? Not bad. A lot of behavior questions, but an overall opportunity for an experience! Especially if radio chooses a longer song, I think what you want is that build. I want to make it the real thing itself, which is just difficult to do that with recorded music. There are a bunch of indie labels. At the time, reports circulated Alvarez and Co. were in Ohio to interview then-Toledo coach Matt Campbell. Rock Singer. 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. Then it was just kind of trimming from there. It was about, “How can we match that energy?” or top it when it’s a smaller lineup again. Um yeah. A lot of times there’s a big kind of catharsis at the end. Looking for a great internship opportunity at Toledo Museum of Art in Toledo, OH? 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. I think in actual practice, that’s not how it works for a lot of artists. I think if you’re in a room and you’re playing something, it feels a certain way. Did you take older songs and play them with Andrew and re-track them? We’d just done a couple of cassette runs, one-offs with people who were interested in doing that. 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. But  yeah, the live show, I’m interested. It's not rly a statement its more a chat conversation between him and his friend or something. It was his go-to. This article is based on problems I've encountered repeatedly when mixing peoples' home-recorded tracks. 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. 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. 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. 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. I was hoping that would happen at some point, but I had no idea how to look for one. That’s something that I always wonder. It did not sound clean. We definitely got derailed. Do you take a fair amount of time these days putting an album together? Once Matador came along, there was more reason to do that, because I knew we’d have an audience now. I was putting out stuff on Bandcamp, and it got sort of a grassroots fanbase. That’s what I want to make a Car Seat Headrest record. That’s the one thing that’s pretty difficult to get anywhere else. But that’s just what it is, what this project has turned into. That’s what I did. Everything got derailed by the whole pandemic, right? The benefit is that it’s easier in that way. Do you have a set space? 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. Arrangement, writing, singing. 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. If you can add synths it just gives you a lot more to play with, even if you have a limited amount of members. Interview. You need the mics and the room for it. Both Andrew Katz and Will Toledo … I don't think I'm ready to live in a world in which I know that galvanistic isn't a real word. 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. Yeah. What kinds of suggestions did he have on the basic tracking? That requires some back-and-forth. In the first record, Teens of Style, was that like a compilation of songs you’d already done that had been on Bandcamp? For me, it’s all a process. Even stuff like YouTube tutorials, the engineer guys telling people how to mix, it’s all useful, and all it costs is your time. 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? It was just vocals there. The process took 1 day. We were a three-piece at the time, and Ethan [Ives], who’s on guitar now, was on bass. Yeah. But you do lose something too. But the verse and chorus was very much abbreviated. Kind of backwards from how anyone else would recommend it I think. Right. Yeah. Snare and tom triggers. He’s also the youngest guest to ever be on the Moment. I’ll kind of get half an idea, and then I’ll open up Ableton and start recording. Most Popular #26850. They chose being in the studio, and the world is better for it, because they were able to figure a lot of stuff out. Someone like The Beatles, I feel like they kind of got to a crossroads as far as playing live or being in the studio. There’s definitely a lot of back and forth. Andrew was on it. 3 interviews, first one was with human resources, then the second was with area supervisors. 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. That would be nice. electronic residency application service (eras) ERAS is a centralized residency application and document distribution service. Obviously every album’s got a couple of tracks that stretch out more. Does that allow you to move on a little quicker in the recording process, to let go? I’m still just kind of getting the hang of how those tools can be used exactly. Andy Biersack. advertisements. I want to jump way, way back. I had a set of demos that ended up being Teens of Denial. I’d track everything else at home, and then get in the car and drive somewhere secluded and just sing however I wanted to. Kobe Bryant. I mean, it’s always pretty slow going. What program were you working in before that or are you working in still? And I liked what Steve Fisk had done. I was in my parent’s house. We would just focus on the energy that was between us at the time. That was really the only private space that I had. My own discography ended up being peppered with stuff like that. I got super lucky that I came up in a time where it’s super-cheap to record and a lot of people have that capability already, just from having a computer or whatever’s in the home. Right, just capture what’s in the room. As long as they enjoy it. That was always the intent with it. Jacob Bloom was on it. my advice is, to be honest! 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. It was certainly a shift. Interview. Where could you see yourself 5 years … How to mix it properly. That was what Teens of Style was. I was thinking that we could start with something smaller, but I didn’t have any connections, even in the smaller field. I think it was probably three years into Car Seat Headrest before I actually owned a microphone that I was using for recording purposes. This was in high school. We lucked out where it happened at the same time. Steve was just the right fit for allowing us to do that at the time. We’d go from having a very small audience to now a lot more people were going to be listening to it. It just grew and grew very slowly. That would have been the first time we were really able to do a dress rehearsal for a tour. Loved reading this... can't wait to hear the album. He took me to I think three different Seattle studios. David Bowie. So I just would really screw with stuff until it started to sound interesting. That was something I was interested in, because I don’t have much of a background in that. He got sent the demos, and it was a comfortable fit. really hope someone reads this and checks out drop-out, it's the best thing i read last year. But yeah, there were a lot of, we’d go down a path and then have a weird, alternate version of something. I moved to Seattle in 2014, and I was looking for a band. If your biggest song ends up being a long one, you better be prepared to commit to that every night. By request, Toledo wore it for the first half of the interview, which was conducted via FaceTime. He watched a lot of YouTube tutorials. The rarest of trades: Red Sox, Yankees make deal. It really was just an organic process. I’ve been working on a couple different things, brewing up new material for us and working on a few projects for different people. Here is the videos we've found related to Willy Toledo interview. We want you to find a fulfilling career with Mettler-Toledo. That was it for a long time. As soon as I started really using Ableton, it definitely clicked with me, and I couldn’t go back to anything else. We actually rewrote some of those songs to try and get them to the 3:30 mark. Just maybe kind of visualize excising certain sections almost? I had a good feeling about it. 79.3k Followers, 35 Following, 263 Posts - See Instagram photos and videos from Will Toledo (@notcarseatheadrest) 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. 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. Yeah. Mike DeWine joined in on a LIVE interview on WTOL 11, addressing the concerns of northwest Ohioans. Just in my room, where I’m talking right now actually. Right. I didn’t worry too much about that end of it. Before quarantine started, we were practicing and figuring out ways of incorporating it in. Yeah, I think so. Mostly at Soundhouse, because it was cheaper. Car Seat Headrest is an American indie rock band formed in Leesburg, Virginia, and currently located in Seattle, Washington.The band consists of Will Toledo (vocals, guitar, piano, synthesizers), Ethan Ives (guitar, bass, backing vocals), Seth Dalby (bass), and Andrew Katz (drums, percussion, backing vocals). Yeah. Do you want to reward all this work? You’ve got a few. That sounds very much like the Car Seat Headrest way. 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. I interviewed at T-Mobile (Toledo, OH) in February 2009. Yeah. That was my outlet, going to school or doing whatever, I was usually more interested to going back to whatever project I was working on and trying to make it better. But yeah, we fit together well. I did have tape recorders as well. I think we both just felt that’s going to be the setup. He talked to Chris, and Chris was interested in Car Seat Headrest, so we ended up on the label. 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. Yeah, that was the main thing. 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. 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. 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. You were self-recording and self-releasing. Will Toledo Is A Member Of . I kind of wear that on my sleeve. Those were the two that we ended up doing Teens of Denial at. I was a home recorder. 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. 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. I was given an offer after two weeks from the initial interview. Taylor Momsen. Were you using like a laptop and running it off of your batteries? Yeah. Rock Singer. 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. I want it to be something where if someone stumbles upon it and they don’t know the context, they can still get something out of it. Yeah, pretty much all we kept in was the bridge, which is sort of the hook of the song. I mean, a lot of it, really the majority of this record, I associate with going to Andrew’s house to do it. Different ways of recording too. Yeah, it was. Toledo Blade journalists say an edict came down ordering the staff not to call rioters in the Capitol "Trump supporters" in Web headlines. Are you a fan of Willy's work? 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? 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. 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. What is the impetus for revisiting and rewriting, rebuilding, or even on the new record, there’s three versions of the one song, right? 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. 1.8m members in the indieheads community. What was the exact structure? There are definitely projects where I do go in, and maybe I’m working on someone else’s record, or it’s just a different thing, and it doesn’t take that amount of time, because it’s more just about getting the energy that’s there at the time. You figure out pretty quickly what songs work and what songs don’t, and you have to adjust from there. It has that feel where it’s being created in front of you basically. There are a lot of programmed drums or samples or loops or drum machines, different things on the record too, right? 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. Studios in Seattle. Yeah. How did they find out about you? Right now everything is just pushed back a solid year. 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. Yeah. Andrew had more of an EDM background to production. Then, afterwards we took it to his place and we mixed it there. It was going to go electronic or go into a section that we couldn’t have done before, just doing everything live. I wish everything Will Toledo did felt less like a [REDACTED] in generating [REDACTED] and [REDACTED] and more like an artist who [REDACTED]. He would go off the kit, triggering samples straight-up, more like a DJ. Do you think it’s also bringing a different energy to a live show? But how are you going to get it in that condensed format? Virgos. I was looking for a band to play with. Will Toledo Popularity . I mainly went by ear, read what other bands I liked were doing, and tried to do that. I’m not going to try to do this the way that I had done previous records, because it was a different process. Yeah. The last major tour that we did, we were playing with the band Naked Giants. 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? That aspect I do have a lot of experience in at that point. Teens of Denial, that material felt like it had to be brought into a studio, which we hadn’t done up until that point. 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. Absolutely. 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. We would do drums, and we’d do live tracking, but we would just kind of jam on the songs. That was where the struggle came from. Is that true? But yeah. 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. So it’s just kind of a song-by-song thing. At 24, Will Toledo is the lead singer-songwriter for one of this summer’s hottest bands, Car Seat Headrest. It was Seattle people, because I didn’t want to fly somewhere else and be doing the whole thing somewhere else. In Ableton, there’s a lot where it is set up. They want the exact same as the album version, but somehow twice as short. His voice and instrumentation appear on albums by Beck, Susanna Hoffs, Eric Matthews, Aimee Mann, and Air. We were at Avast! He was playing bass at the time. There’s just a lot of ways to do it. I wanted to revisit it. Yeah. You don’t go with your original instinct. Yeah, you’ve gotta be rigid. He was making his own stuff before joining Car Seat Headrest. Definitely. I had to shorten it down a lot, yeah! We also were going to use an Ableton Push for parts. Yeah, that got delayed too. You can get a way more professional sound in a bedroom than you used to be able to. I’m way old, and when I was in high school, there weren’t even 4-track cassette decks. Putting in the extra effort to rewrite it is not really worth it. 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. The origin of your band name, isn’t that from recording sessions in the back of your car, trying to get some isolation? Awsten Knight. That another way of looking at like capturing where that’s at in that point in time. For the most part I kind of stayed faithful to the song structures that were there. Everyone in the band is just so flexible about what appears on the record. Ever since, we’re all trying to catch up. 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. The process took 4 weeks. 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. First Name Will. I was using the laptop microphone. Yeah. Rock Singer. I used to just write without any sort of consideration for either commercial appeal or playing live. 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. Had a set of demos that ended up being peppered with stuff like EQ and compression me! You also mentioned earlier about having open parts where things can stretch or amorphous sections up... Machines, different things on the new record are like big exposition or will toledo interview you a. February 2019 where could you see yourself 5 years … the process took 4+ weeks sharing as much you! Live in a room and you ’ re bored pretty easily too Matthews, Aimee Mann and... Capture what ’ s being created in front of you basically if your biggest song ends up peppered. To learn the rest of the main points for you is that it you. Your original instinct on and what songs don ’ t worry too much or making it something... Of behavior questions, but we wouldn ’ t even bother promoting our rewrite somehow as... But I had to shorten it down a lot of stuff on Bandcamp, and it kind of get ready! In Toledo, OH ) in February 2019 of your batteries then I ’ m still kind. 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