Hello everyone and welcome to Day 2 of the indieheads Album of the Year 2020 Write-Up Series where the users of indieheads go in-depth on their favorite albums of the year throughout the duration of December. Up today, series founder u/ReconEG talks Car Seat Headrest’s polarizing Making A Door Less Open. submitted by IndieheadsAOTY to indieheads [link] [comments] May 1st, 2020 - Matador Listen: Bandcamp Spotify Apple Music Background The time period between Car Seat Headrest’s Matador debut, Teens of Style, in 2015 and the 2018 remake of Twin Fantasy was a massive, massive breakthrough period for the band. Starting off as a solo project of sorts by founder Will Toledo, the band had expanded its lineup to seven members for the Twin Fantasy tour, taking songs Toledo recorded initially in his car and filling them out to play in bigger and bigger venues, peaking around February 2019 when the band opened for Interpol at Madison Square Garden. Behind the scenes though, Toledo was year 3 into writing the follow-up to Teens of Denial and Twin Fantasy, sporadically entering the studio between one elongated tour after another to work these ideas out with his core lineup of drummer Andrew Katz, guitarist Ethan Ives, and bassist Seth Dalby, which was solidified in 2016 after the recording of Teens of Denial. While the band was praised for its resemblance to indie royalty acts of the 90s and early 2000s, they were all getting kind of sick of making music in that vein, all clearly pushing for something different. It was Katz especially that Toledo confided in as a collaborator, as seeing him work on his 1 Trait Danger project opened up new songwriting possibilities, taking these songs he was writing and making them work around Katz expertise in EDM mixing. While early versions of the songs and ideas that would make their way into this follow-up album were more indebted to early new-wave than anything else, things would drastically shift by mid to late 2019 when they entered the studio proper to record this album, as at this point Toledo began to devise the album as a collaboration with 1 Trait Danger, with Toledo writing the songs as the gas-mask-wearing character Trait. The sessions concluded in October, but Toledo and the band kept tweaking and working on the album, even after turning the album into Matador twice for vinyl and CD pressings, as the album was only officially completed weeks before it came out on DSPs. By the time the album’s second single, “Martin”, came out, the band was forced to delay (and eventually cancel) their tour for MADLO, where Toledo would have performed as Trait, wearing a custom-made gas mask (as seen in the music video and various press photos) with LED-eyes. In the press release/album description, Toledo said the following about the mask: Bob Dylan said, “if someone’s wearing a mask, he’s gonna tell you the truth...if he’s not wearing a mask, it’s highly unlikely.” He never actually wore a mask onstage so I don’t know why he said that. But I decided to start wearing a mask for a couple of reasons. One, I still get nervous being onstage with everybody looking at me. If everyone is looking at the mask instead, then it feels like we’re all looking at the same thing, and that is more honest to me. Two, music should be about enjoying yourself, especially live music, and I think of this costume as a way to remind myself and everyone else to have some fun with it. I don’t think it changes anything else about the songs or how you feel about them to be able to drop it for a second and have fun with it. If you can’t do that then you’re in a bad place…Making A Door Less Open was released on May 1st, 2020 via Matador, and the band’s activities since its release have been limited, with Toledo playing a couple of acoustic live streams on his Twitch channel, the band performing “Can’t Cool Me Down” on The Tonight Show with Jimmy Fallon, and the upcoming release of Katz’s second video game, Lombardi's World (For the sake of transparency, I got to play the game early in a press session a few weeks ago), the objective of which is to kill Matador Records founder Chris Lombardi. The game is also being published by Matador Records and Trait (voiced by Toledo) appears as a playable character. Write-Up by ReconEG Prologue: 2016, The Life of Pablo, and Falling Out of Love with Kanye West & In Love w/ Denial Remember when we all weren’t sick of Kanye West? Or at the very least, remember when we could tolerate Kanye West’s bullshit? It seems like a lifetime ago, but there was a time where Kanye West made records that, even with a ton of baggage, were unfathomably great. Coming into 2016 though, I had a lot more fear about the next Kanye West album. While 2014 was mostly a quiet year for him in terms of new music, 2015 saw Kanye spending a year ramping up to something. What that was was hard to guess. Whether he was showing his soft side on “Only One,” attempting to pivot back to pop on “FourFiveSeconds” or trying to make an arena banger in “All Day”, almost nothing he released this year landed for me. The fact that my favorite Kanye song in 2015 was a leaked reference track for Rihanna speaks volumes to how bad of a year this was for him. But in 2016, the slate was cleared as Kanye began to properly set up the release of a new album. I’m sure most of you reading this have some sort of PTSD related to the release of The Life of Pablo so I won’t make you relive much of the events, but overall after going back and forth for at least a solid month or two, I realized that I was falling out of love with Kanye West. While there were still bits of genius in Pablo, it was simply disorganized, messy, and at times, straight up bad. While interesting in theory, updating the album like a video game with various patches over the next few months ended up making it worse and worse. When artists like Frank Ocean, Angel Olsen, and Car Seat Headrest were releasing their own ambitious projects that actually felt like they were fully conceived, I didn’t really need Kanye West anymore. My decision feels more and more justified by the day. Chapter 1: 2018, Twin Fantasy, and Bad Times at Delmar Hall Considering we won’t get to have traditional live shows again for another year or so, it feels weird to complain about past concerts. Hell, it feels weird to complain about concerts that were overall good, but left a bad taste in your mouth by the end or just wasn’t up to snuff. While many praised the Twin Fantasy tour and the monstrous 7-man lineup Toledo put together including the members of Naked Giants, it just didn’t really land for me when I saw them in St. Louis on September 27, 2018. It doesn’t help that I wasn’t the only one as the crowd felt deflated for about half the setlist which was filled with unique re-arrangements of classic CSH tunes & obscure covers. It seems Will Toledo could figure this out to, as towards the end of their cover of Dexy’s Midnight Runners’ “Tell Me When My Light Turns Green”, he threw down his mic and bum-rushed off the stage to the exit, causing his band to quickly wrap up the song and make their way off the stage, never to return despite calls for an encore. I chalked this up at the time to general tour fatigue as the show at Delmar Hall was their second-to-last for that leg of the tour, and as I wrote this on my blog at the time about the show: While my first reaction to Toledo and the band skipping the encore was anger, it quickly turned into a feeling of understanding, as from many different interviews with many different bands, it was clear that Toledo was simply burnt out. When you’re on the road for up to two months at a time, away from home, friends, and family, and playing shows almost every night, burnout just becomes an inevitable, especially when you’re just a few days away from the tour being over. Toledo has suffered from tour burnout before, as in a recent interview with Rolling Stone, he cited a 2016 European tour as the low point of his past two years, saying “being on that bus with no sleep and just the same task day after day and feeling like we’re getting nowhere,” with the band’s drummer Andrew Katz confirming that sentiment in an interview I did with him on the Indieheads Podcast.Okay I’m gonna get really, really bummed if I keep thinking about the havoc COVID-19 and the U.S. government’s lack of response has wreaked upon the live music industry, so let’s just wrap this all up real quick. I was bummed about this show and it gave me great skepticism about what was next for Car Seat Headrest if this was the direction he wanted to take the band. Much like I doubted if I needed Kanye West at the end of 2016, by the beginning of 2020, I wasn’t really sure if I needed Will Toledo anymore either. Chapter 2: WinteSpring 2020, The Singles, and Early COVID-19 Times When Making A Door Less Open was announced towards the end of the winter in 2020, I was both excited and worried. Considering that the band had only officially released one bit of original material written by Toledo in-between Teens of Denial and now, I was excited to see what he had spent the last few years cooking up. But upon hearing the lead single, “Can’t Cool Me Down”, that bit of skepticism crept back up once again. I knew I liked the song, but there was just something… off here that I couldn’t quite place. But soon the song and the album announcement went into the memory hole, as only a month after its release: everything went to shit. Even though singles kept on rolling out for the album throughout the rest of early spring, I couldn’t be bothered to care all that much. “Martin” came out when I was planning the Indieheads Festival so it didn’t leave much of a mark on me, and like many when “Hollywood” came out, I was appalled. So with two okay singles and one disastrous one, expectations for this new album were low. It turns out that was probably a good thing for me. Chapter 3: Late Spring 2020, The Rollout, and What Happens When You Start Hanging Out with That Andrew Katz Boy. So while the singles helped set some low expectations for the album, that wasn’t the full story. Compared to the other big indie record labels that are willing to experiment now and again with album rollouts and how things are timed out, Matador plays things pretty nice and traditional. Their albums are usually announced about 3-4 months in advance and 3-4 singles are spread out in that time. For most artists, this works out fine. For Making A Door Less Open? Eh! One of the biggest head scratchers about the album’s rollout was that there were going to be three versions of the album, with the vinyl, CD, and digital versions of this album all being different. Similar to The Life of Pablo, Toledo was working right up to the deadline to finish the album and it seems some sort of compromise was made so that Toledo could finish the album past the deadline & make sure physical copies were pressed on time. I honestly chalk up this album’s mixed response from critics to be because of this mishap, as it seems like most of them received an advance of the CD or LP version, which have the following tracklists: LP Version
I stress all of this because the thing with MADLO is that this album should have been a disaster. And this isn’t even mentioning the mask stuff which I’m not gonna say much in the review besides saying if COVID didn’t happen, it probably would be pretty cool and work really well seeing them live. What’s most important about the mask is that it allowed Toledo to escape from himself a bit after years in the spotlight, being able to write songs from a slightly different perspective. While on tour, drummer Andrew Katz conceived the 1 Trait Danger project as a way to cure boredom and make himself and his bandmates laugh, with Toledo quickly latching onto the project as he played a much larger role on the project’s second album, 1 Trait World Tour. This role constituted creating an alternative persona for himself called “Trait”, who wears an orange hazmat suit and appears to be some kind of small bunny? Or a small dog man? Or… um? Look, it doesn’t matter what animal Trait is as the most important element here is that when Toledo and his band hit the studio to record MADLO, 1 Trait Danger’s EDM sound inspired Toledo to look past the medium sized concert halls his band was playing and onto huge crowds at the music festivals he and Katz had made fun of on World Tour. Speaking with the New York Times earlier this year, Matador Records founder Chris Lombardi said the following about Toledo: “Before this album was recorded, he told me he wanted to make an album that had the sonic capability of competing with some of the other new pop or hip-hop acts at the Coachellas of the world, or the Lollapaloozas of the world,” Lombardi said, so “when he was going onstage, he wasn’t being overshadowed by whoever else was playing a more futuristic type of music with a more electronic type of palette — that he would be able to compete against them and win.”Of course, this mindset seems extremely passé now considering that there are no pop or hip-hop acts to compete with at these festivals because these festivals aren’t going to exist again for quite some time. Whatever the case though, Toledo saw something in Katz’s sound that he wanted to bring over to Car Seat Headrest. When recalling this conservation in that same Times piece, Katz said “I’m thinking to myself, ‘The label’s going to freak out. Andrew Katz is about to ruin Car Seat Headrest.’” So, did he? Chapter 4: Summer 2020, Making A Door Less Open, and the Eternal Question of “Why Doesn’t Everyone Have Brain Worms Like Me?” Considering the title of this series, it’s safe to say that Katz did not ruin Car Seat Headrest. For me at least anyways. The jury’s still out overall, as you’ll probably find out reading the comments of this post. But what I learned upon my first listen or two to MADLO is that I should never doubt my loyalty to Will Toledo. I should never doubt the way this man and his music have made me feel. I shall never express doubt towards him again because he knows how to wire into my brain and express feelings I don’t know how to articulate myself. A lot of people focus on the new bells and whistles Toledo and Katz have added onto the MADLO project, and while they’re important, Toledo has not lost his abilities as a writer here, even if he’s a little less wordy than he usually is. Maybe it’s because of his age, maybe it’s to inhabit that festival music mindset, maybe it’s something else I haven’t quite latched onto, but even with fewer turns of phrase, there’s something about Toledo’s words that grab onto me. Take “Deadlines (Hostile)”, which hooked me pretty quickly due to its resemblance to something off of Teens of Denial. For an artist who is pretty self-aware about their awkwardness, this first version of “Deadlines” we hear on the album is the most swaggering and confident we’ve heard Toledo, as it turns out inhabiting Trait kind of makes Toledo sound cool? Or at the very least, he’s pretty damn good at making himself sound cool as his tale of forbidden attraction just fucking hits. As someone who spent much of their late teens & early 20s slowly building up their self-confidence via empty hookups and short-lived long-distance relationships, “Deadlines (Hostile)” encapsulates these conflicted feelings so perfectly as Toledo repeats “Am I, am I, am I, am I on your mind? / Is it, is it, is it, is it what you like?” early on in the hook. The perspective seems to shift to the other party though on its counterpart, “Deadlines (Thoughtful)”, which sounds much more in-line with the rest of the album, sounding like an early Crystal Castles (FUCK ETHAN KATH AKA CLAUDIO PALMIERI, ALL LOVE TO ALICE GLASS) cut with its blistering synths and hard-hitting sequenced percussion. The song centers on the lines “Oh compassion, it’s transforming me into-”, with Toledo unable to finish that thought as he explained to Apple Music: The line ‘Oh, compassion is transforming me into’—it’s an unfinished thought because I think that the ellipsis is the end of the thought. In a way, it kind of ties back to ‘Martin’ and ‘Just when I think I’m gone, you change the track I’m on.’ You have a slightly different idea here of compassion taking you off that track, whatever track you go down where you just kind of get narrower and hollower as you get older and it just turns you into something vaguer, you know? And I think that it seems like when people get older, they either get sort of ground down to the basics of their personality and they can’t change out of that or they kind of just drift and they get weirder and they just don’t define themselves and that allows them some sort of freedom. That line is sort of pointing at keeping compassion alive as a way of allowing yourself to drift and become something different, someone different or possibly nothing at all, but just resisting definition for one more night.These fears of getting older and what that does to your personality and sense of self are seen all throughout the album, but its most notable in the album’s opening and closing chapters, “Weightlifters” and “Famous”, with the former hitting especially different in quarantine times, as the song touches on hints of body dysmorphia and the buried feelings that cause it. I was already struggling with my weight & body image issues prior to COVID but things have been especially worse now, as it’s simply just hard to find the inspiration to want to get into shape when you’ve got 50 other mental blocks you gotta get through to get there. It’s not the best feeling getting out of the shower and looking in the mirror and just feeling disgusted and awful looking anywhere below my chin. As Will Toledo quietly ponders on the hook “‘Cause I believe / Thoughts can change your body / It’s all on me”, it feels like he’s hooking directly into my brain when I take these looks at myself. These thoughts on thoughts come back full circle on “Famous” as Toledo repeats “Change your mind” over and over before he asks “Did you change your mind?”, getting ready to ask that question once more before cutting himself off, much like he cut himself off in “Deadlines (Thoughtful)”, leaving things unanswered once again, as one does sometimes when dealing with this. From my own experience, sometimes my brain just shuts down when I think too long about my body, eventually finding its way to fixate on something else for a bit. One thing about my issues with my body is that I don’t talk about it enough, as I haven’t been able to prioritize therapy since the initial lockdowns but even then, I just hate bringing it up to any of my friends, so when Toledo sings “Someone will care about this / Please let somebody care about this”, it just… hurts. In the right way. These feelings of just wanting someone to care about me go far beyond my body dysmorphia and fully extend to my mental health at large, as one of the worst things about depression is that it’s extremely good at isolating you from everyone in your life with the feeling of “nobody cares about you.” I had a very good friend in my life recently fall victim to this and it’s been devastating to see. They were someone who I always considered to be such a beacon of hope and optimism and to see these feelings ravage them and our relationship hurts more and more every day and I feel powerless to stop it. While “I should start lifting weights” is meant literally in “Weightlifters”, I can’t help but feel like it's talking about the weights of depression and how hard they can be to lift also. Anyways, let’s talk about the global elite pedophile cabal and MADLO’s most polarizing song, “Hollywood.” Possibly the most abrasive CSH song since their early Bandcamp days, it’s also one of their poppiest, with the song peaking at #29 on Billboard’s Alternative Airplay chart, where it charted overall for 14 weeks. Even before I hosted a podcast series talking about butt rock, I already swung around pretty quickly to liking this song as first and foremost, the main riff is sick. It’s big, it’s fat, it’s meaty, it’s rock and roll baby. Toledo mostly takes a backseat on this song as a vocalist, letting Katz try out his best Fred Durst impression as he destroys his throat screaming about how disgusting LA/Hollywood is. It’s essentially a Conner O’Malley video but as a song, and for that I have to stan. I wonder if Andrew and Will listen to TrueAnon? But since we’re on the topic of Andrew Katz, let’s talk about his overall influence on the album, as while I don’t think he’s affected Toledo’s songwriting all that much (the poppier leanings of this album do seem to fall solely on Toledo), he has affected the sonic textures this album explores, with his experience in EDM mixing getting shown off in a variety of ways. Sometimes it's subtle and tasteful like on “Martin”, with the frantic percussion perfectly tying into Toledo’s lyrics of past figures of people in his life and the feelings and reminders of said feelings that pop up every now and then. Other times it’s more pronounced like on the previously mentioned “Famous” or “Hymn - Remix”, as in its original version, “Hymn” is like a combination of something off of Tim Hecker’s Love Streams and Radiohead’s “Morning Bell/Amnesiac”, with the remix turning that into something that can best be described as Car Seat Headrest meets The King of Limbs. Radiohead ends up being a not so surprising touchstone regarding this album as much like Car Seat Headrest, Radiohead turned to electronic music after a period of tour burnout following two critically adored and highly regarded albums. Though, it might be more apt to compare this record to a different 90s alt rock band, The Smashing Pumpkins. While Adore is technically the Pumpkins’ electronica record, a lot of the electronic touches on that album are more textural, much like MADLO. Adore was Corgan trying to re-ground his band, as you simply can’t keep making albums like Siamese Dream and Mellon Collie and the Infinite Sadness over and over again, just like we can’t expect Toledo to keep making more albums like Teens of Denial and Twin Fantasy. As an artist, it’s sometimes hard finding a middle ground between pleasing your fans and chasing your creative dragon, but more often than not, I’m gonna respect an artist who continually chases that dragon, even if the results might vary. Before the album came out, it already felt like Toledo was on the defense regarding his creative choices on the album and its promotion, as he literally gave a PowerPoint to Matador Records going over everything about the album from its cover, the Trait character, what the title meant, etc. Even on their comedown record, Toledo and the band still have plenty of chips on the table, and that’s the dissonance that I love the most about MADLO, as the high melodrama and extended lengths of Teens of Denial and Twin Fantasy don’t quite appeal to me like it used to. They’re both great records that I love dearly, but at this point in my life, I’m much more aligned these days with the person I’m hearing on MADLO. Chapter 5: Fall 2020, The MADLO Manifesto, and Ah Goddammit How Do I End This Ahh!!!! The song I loved the most on the 2018 version of Twin Fantasy was “High to Death.” It’s probably the most drastically changed song from the original version of the album and in my books, the most vastly improved. One important change the song had was the addition of a voicemail from artist Hojin Stella Jung (who did the single artwork for “Beach Life-in-Death” and “Nervous Young Inhumans”) to the Nevada Museum of Art: Hello, my name is Hojin Stella Jung, I'm a senior at McQueen High School, my portfolio is a collection of paintings - that was created during last summer, and the first half of my senior year, and it's called "The Lady", and I didn't feel very well when I painted the first, and I didn't feel very well when I painted the last. It was intense, it was an intense process, and it was how I was trying to - very hard, personify that intensity, but it's hard to talk about her now, because I think she wasn't me, at least that's how I feel and I'm trying to figure out what to do now.While at the time it was clear to tie “The Lady” as a parallel to Twin Fantasy, I see “The Lady” more now as a parallel to Car Seat Headrest as a whole. When talking about writing those previous records, Toledo doesn’t look back fondly as Teens of Denial particularly was written during a “very depressed and angry phase of my life” according to his interview with Huck. He described a similar scenario when talking about writing Making A Door Less Open, saying “I don’t think I was quite so angry or depressed, but it just felt like a hollow useless time. I was doing a lot of stuff that I felt wasn’t going anywhere.” And right now, that’s where I’m at. While 2020 was an extremely busy year for me where I was doing a lot, I still feel like I haven’t gone anywhere, as I’m still stuck in the same bedroom in the same financial situation I’ve been stuck in for years where I’m doing so much but yet it feels like so little. One of the most honest things about MADLO is that there’s no true resolution. Will Toledo ends the album where he started, hoping his thoughts could change his situation and desperately begging for such. Even throughout the album’s various versions, this doesn’t change. The route to get there might be different, but point A and B stay the same, because it’s a loop. I hope to break it one day and someone cares as I try. Favorite Lyrics 'Cause I believe
I was thinking people never change
Don't go back to Oklahoma
I'm tired of coming home sick
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All have had one thing in common in their responses to coronavirus: a belief or suggestion, at least in the early stages, that taking personal protective measures against the virus is somehow unseemly and at odds with their macho political brands.
Trump has refused to wear a face mask, even when touring a mask-making facility; Bolsonaro has questioned the need for social distancing and been pictured shaking hands and hugging fans.
Johnson infamously announced that he had shaken hands with everyone when he visited a coronavirus ward, an admission that was crying out to be overlaid with music from the Ghanaian pallbearers meme but became less amusing when he was subsequently admitted to hospital with the virus.
Putin has also seemed unclear on how the virus spreads, donning a full-body banana-yellow hazmat suit to visit a coronavirus ward back in March but then shaking hands with the head doctor, who later tested positive for the virus.
Of the four leaders, Johnson is the only one known to have contracted Covid-19 himself, and he emerged from his hospital stay with very different rhetoric about this virus.
In an extreme example, Alexander Lukashenko, perhaps Europe's only genuine Covid-dissident leader, said, "It's better to die standing than to live on your knees" when explaining why he was not introducing any restrictions to help prevent the spread. Trump and his vice-president, Mike Pence, have both refused to take what many scientists agree is the simplest precaution, and wear a mask.
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