This album starts off with “My Boy (Twin Fantasy)”, and I can’t tell you how this track pumps me up. I love the patient start, the epic, thumping bass, and the patient drums. That, almonds Will’s very slow, drawn-out vocals are just so cool here. There’s a serious sense of endearment in his lyrics, and even in his quieter moments there’s just so much passion here. But “My Boy (Twin Fantasy)” picks up into this chugging, ridiculously epic Indie tune by it’s conclusion. It doesn’t overstay it’s welcome, but it ushers in a lot of the sounds of this album and as well as it’s lyrical themes very quickly. This is how you start an album with a bang. “Beach Life-In-Death” is up next, and this one has sort of been blowing my mind ever since I heard this rework. I love Will’s very hectic, urgent start and just how grimy this sounds. Car Seat Headrest have toyed around with some Emo and Punk for years, but this is just so unpolished and harsh that it comes off actually gritty and heavy. But Will doesn’t let that stop this one from being lyrically compelling and immensely well written. For an over 13-minute song, I have to say Car Seat Headrest make this incredibly easy to listen to. Now, let’s address the elephant in the room, just how much Will is letting us into his life. It’s something that he’s done for years, it’s what made the last two Car Seat album’s so compelling. But “Beach Life-In-Death” is completely next level. Now, what I do have to point out is what made “Teens of Denial” so good. It was how Will seemed to bring up situations that universally applied to so many of us, in a way that we felt like we all had a little Will Toledo in all of us. But on “Twin Fantasy”, Will’s bringing us many more personal stories, most which often aren’t as relatable to an extent. I wouldn’t say that makes this album any less compelling though, and this performance on “Beach Life-In-Death” is flooring. From the multiple passages that seem endless to Will’s jaw-dropping intensity, this track is incredible. To be honest, it’s almost a little too personal in parts, painfully true even. But it’s just such a good track. And even outside of WIll’s performance, this is just such a swirling masterpiece of a track. The musicians Will has sided with to help him tell his stories are all just incredible artists. Up next we have “Stop Smoking (We Love You)”. Now, for what this is, it’s sort of charming and sweet. It’s slow, it’s stripped down, and is mostly just Will with his guitar alone. But I feel like this one does fit snuggly into the very realistic world Car Seat Headrest present. Obviously, there really isn’t that much to take in, and I wouldn’t say this track adds a ton, but it’s pleasant. But Will bounces back with “Sober to Death”, which has this incredibly lush sound to start it off. From a production standpoint this album is just so next level for Car Seat Headrest. There isn’t anything Low-Fi about this, they sound like absolute legends. Some of these guitar licks are just so cool, and go great alongside Will’s incredibly realistic lyrics. Will’s always been a little paranoid, a little small on the inside and scared of the world. But for a few minutes here, I feel like we can all very easily relate to what he’s feeling. There are elements here of folk, indie, and more. However, we have to give Will the credit he deserves, because at the end of the day he knows way too much about writing an incredibly catchy Pop Rock tune. I mean, come on, “Take your hands off your neck and hold On to the ghost of my body, You know that good lives make bad stories”, that’s BRILLIANT. Will just sounds so alone on “Sober to Death”, even in the more obvious moments towards the end where he’s pleading “You and me will be alone no more”. Will, whoever this relationship was with, man or woman, young or old, once again you’ve written songs that have sort
of summed up everything we’ve all felt over the years.
It’s moments like “Nervous Young Inhumans” that continue to baffle me with just how much Car Seat Headrest and Will Toledo have evolved so much over the years. I know it’s obvious and almost pointless to say, but this track overall is such a magnificently re-recorded work. Hell, this is more that re-imagined, this is a totally different work practically. For a single, I don’t think there’s a better track here, but this is also one of the more easily digestible here as well. I love the soaring and infectious chorus, and just how hypnotic the verses are. It’s moments like this though that I also feel like this album is a slightly less focused album from a track list perspective. I wouldn’t say it’s done to a fault, but “Teens of Denial” to me just seemed to tell a comprehensive story from start to finish. “Twin Fantasy” however seems to be hard to follow in parts. But as strong as that sounds, it actually adds to what makes this album so mystifying. It really makes you think, and it really sticks with you. Not to mention, Will’s ending monologue on “Nervous Young Inhumans” is loads more interesting than his original lecture on the word “Galvanized”, fans of the original “Twin Fantasy” will know what I mean. I have to give it to Car Seat though, they’re actually successfully bringing ins one serious Dance-Rock vibes on this album. “Bodys” is up next, and it actually comes off incredibly funky and groovy. This was originally one of my favorite tunes on the older version of “Twin Fantasy”. But when you listen to the lyrics of this one, i feel like in a weird way that this newly added groove is almost a necessity. Wills lyrics here are so longing, and something that we’ve all felt, that feeling of meeting someone special the first few times and wanting to skip the pleasantries and just freakin’ hold that person and feel at one with them. “Bodys” is anthemic, gigantic, and I can't ever think of a way this recording could have come off any bigger or better. It’s equal parts cynical and touching, something that’s really hard to master. But Will makes it sound so natural in this gigantic, soaring anthem for teens in love with whoever. Will’s very sarcastic tone continues with “Cute Thing”. I feel like when he gets into his more cynical mood he really sticks with it and it’s just so great. I love just how explosive and instantaneous this one is, and some of Will’s one-liners are spot on (We all wish we had Frank Ocean’s voice and James Brown’s stage presence). This is easily one of the catchiest tunes here, with everything from memorable verses to a sing-a-long chorus. Will’s greatest talent though remains his songwriting, which just blends so much in a short period of time. There are tear-jerkingly real moments that make you want to give Will a hug for being so open, but Will will follow that up with some incredibly witty one-liner. This album is a masterpiece. After that explosive tune, I can seriously groove with just how low-key and stripped down “High to Death” is. It’s just so quiet and somber, and even in the opening moments you can tell that this is easily going to be one of the deepest tunes on the album. Will sounds so incredibly beat down and hurt. For the most part, I wouldn’t say this one follows a lot of the same lyrical themes of the album, this actually sort of sounds like a cut from “Teens of Denial”. But it’s just so well written and such a teary-eyed ballad, we’re right back to having Will so down on his luck. “Twin Fantasy” has such a range. We forget this is an album about relationships, and Will sure does an incredible job of hearing every high and low. “High to Death” is deep, like one of Will’s literal skeletons in his closet, and you really get the feeling this was probably rough for Will to write. But he remains one of Indie’s coolest personalities and makes it into an anthem. Will has such a gift, and it’s clear that he still has so much more to give.
I feel like monolithic songs have just become such a part of Car Seat Headrest’s music that I really don’t worry about them anymore. “Famous Prophets (Stars)” is up next, and I continue to be stunned by Will’s very introspective and well thought out lyrics. Things have really taken a turn for the more depressing in some of these later tracks, but just how personal they all seem to be hasn’t changed a bit. I do have a slight issue with this, int he way that I feel like Will and the rest of the band are sort of on different pages as far as the instrumental goes. While on other tunes they’ve meshed perfectly, this one is just a little off. Will, however, ends up making it work incredibly and ends up giving this one a little unhinged and chaotic feel. The incredible one-liners continue, and make Will come off just so human. We’ve certainly hit his rock bottom as well, with just his dismal and bruised he sounds. But you have to commend him for putting this all together. “Famous Prophets (Stars)” is actually quite stunning as far as structure goes, the way it flows is just fascinating. It’s not exactly my favorite tune here, and I would say that in a few places it’s a little drawn out, but I still think Car Seat Headrest have completely outdone themselves. This album ends off with “Twin Fantasy (Those Boys)’. It has a pleasant, chilled out intro with a ton of epic feel in these very slow paced instrumentals, Then we have Will’s performance, in which he sounds so exhausted. This as a finale is interesting. It’s so heartfelt and emotional, and in a lot of ways does really seem like a victory lap. But interestingly enough, this does end up finishing the way “Teens of Denial” ended, with us hoping that Will is OK and him just sort of being left with nothing. It’s not the happiest of endings, but it’s flooring nonetheless.
of summed up everything we’ve all felt over the years.
It’s moments like “Nervous Young Inhumans” that continue to baffle me with just how much Car Seat Headrest and Will Toledo have evolved so much over the years. I know it’s obvious and almost pointless to say, but this track overall is such a magnificently re-recorded work. Hell, this is more that re-imagined, this is a totally different work practically. For a single, I don’t think there’s a better track here, but this is also one of the more easily digestible here as well. I love the soaring and infectious chorus, and just how hypnotic the verses are. It’s moments like this though that I also feel like this album is a slightly less focused album from a track list perspective. I wouldn’t say it’s done to a fault, but “Teens of Denial” to me just seemed to tell a comprehensive story from start to finish. “Twin Fantasy” however seems to be hard to follow in parts. But as strong as that sounds, it actually adds to what makes this album so mystifying. It really makes you think, and it really sticks with you. Not to mention, Will’s ending monologue on “Nervous Young Inhumans” is loads more interesting than his original lecture on the word “Galvanized”, fans of the original “Twin Fantasy” will know what I mean. I have to give it to Car Seat though, they’re actually successfully bringing ins one serious Dance-Rock vibes on this album. “Bodys” is up next, and it actually comes off incredibly funky and groovy. This was originally one of my favorite tunes on the older version of “Twin Fantasy”. But when you listen to the lyrics of this one, i feel like in a weird way that this newly added groove is almost a necessity. Wills lyrics here are so longing, and something that we’ve all felt, that feeling of meeting someone special the first few times and wanting to skip the pleasantries and just freakin’ hold that person and feel at one with them. “Bodys” is anthemic, gigantic, and I can't ever think of a way this recording could have come off any bigger or better. It’s equal parts cynical and touching, something that’s really hard to master. But Will makes it sound so natural in this gigantic, soaring anthem for teens in love with whoever. Will’s very sarcastic tone continues with “Cute Thing”. I feel like when he gets into his more cynical mood he really sticks with it and it’s just so great. I love just how explosive and instantaneous this one is, and some of Will’s one-liners are spot on (We all wish we had Frank Ocean’s voice and James Brown’s stage presence). This is easily one of the catchiest tunes here, with everything from memorable verses to a sing-a-long chorus. Will’s greatest talent though remains his songwriting, which just blends so much in a short period of time. There are tear-jerkingly real moments that make you want to give Will a hug for being so open, but Will will follow that up with some incredibly witty one-liner. This album is a masterpiece. After that explosive tune, I can seriously groove with just how low-key and stripped down “High to Death” is. It’s just so quiet and somber, and even in the opening moments you can tell that this is easily going to be one of the deepest tunes on the album. Will sounds so incredibly beat down and hurt. For the most part, I wouldn’t say this one follows a lot of the same lyrical themes of the album, this actually sort of sounds like a cut from “Teens of Denial”. But it’s just so well written and such a teary-eyed ballad, we’re right back to having Will so down on his luck. “Twin Fantasy” has such a range. We forget this is an album about relationships, and Will sure does an incredible job of hearing every high and low. “High to Death” is deep, like one of Will’s literal skeletons in his closet, and you really get the feeling this was probably rough for Will to write. But he remains one of Indie’s coolest personalities and makes it into an anthem. Will has such a gift, and it’s clear that he still has so much more to give.
I feel like monolithic songs have just become such a part of Car Seat Headrest’s music that I really don’t worry about them anymore. “Famous Prophets (Stars)” is up next, and I continue to be stunned by Will’s very introspective and well thought out lyrics. Things have really taken a turn for the more depressing in some of these later tracks, but just how personal they all seem to be hasn’t changed a bit. I do have a slight issue with this, int he way that I feel like Will and the rest of the band are sort of on different pages as far as the instrumental goes. While on other tunes they’ve meshed perfectly, this one is just a little off. Will, however, ends up making it work incredibly and ends up giving this one a little unhinged and chaotic feel. The incredible one-liners continue, and make Will come off just so human. We’ve certainly hit his rock bottom as well, with just his dismal and bruised he sounds. But you have to commend him for putting this all together. “Famous Prophets (Stars)” is actually quite stunning as far as structure goes, the way it flows is just fascinating. It’s not exactly my favorite tune here, and I would say that in a few places it’s a little drawn out, but I still think Car Seat Headrest have completely outdone themselves. This album ends off with “Twin Fantasy (Those Boys)’. It has a pleasant, chilled out intro with a ton of epic feel in these very slow paced instrumentals, Then we have Will’s performance, in which he sounds so exhausted. This as a finale is interesting. It’s so heartfelt and emotional, and in a lot of ways does really seem like a victory lap. But interestingly enough, this does end up finishing the way “Teens of Denial” ended, with us hoping that Will is OK and him just sort of being left with nothing. It’s not the happiest of endings, but it’s flooring nonetheless.
Rating: 9.0/10
Give A Listen To: “Sober to Death”, “Nervous Young Inhumans”, “Bodys”, “High To Death”
Genre: Indie Rock
Overall Thoughts: Will Toledo was obviously onto something when he originally penned “Twin Fantasy” years ago. I don’t know if it was “unfinished” as he believes, but it certainly was a little rough around the edges, and a difficult listen at times. However, this reimagining is truly something special. Will took everything, and I mean everything that was originally so likable about this, and made it so much easier to comprehend and follow, and it is GOOD. “Teens of Denial” may be about Will in a relationship with a male, or a female who ever knows with this dude. But, he’s packaged it in a way that you can comprehend these feelings if you’re in a relationship with whomever. The hooks are punchy, the choruses are soaring, and WIll’s anecdotes are timeless. Obviously though, what makes this so good is just how well this is written. Will seems to have such a gift for writing songs. There are tracks on here that are heart wrenching to the point where you want to reach out to Will and check up on him, but moments later he’ll have you laughing with some well-placed cynicism or a truly memorable observation. This album may not be as universally relatable as “Teens of Denial”, but it’s sincerity and blatant honesty is incredible.
No comments:
Post a Comment