Will Toledo’s re-recorded version of an album originally released in 2011 speaks to his greatest gifts as a songwriter: wit, cynicism, and an eye for detail that captures teenaged desire and heartache.

 

With his band Car Seat Headrest, Will Toledo has developed the ideal vehicle for his fixations. Since its commencement in 2010, it’s turned into a profoundly referential venture with a progression of related collection titles (2015’s Teens of Style went before 2016’s Teens of Denial) and gestures to different melodies and groups from the Cars to Modest Mouse to They Might Be Giants. Be that as it may, the association he makes to the music of others is nothing contrasted with the thickness of the inside references. A chorale from one tune may appear as the scaffold in another; a verse may interface with a perception made before in the record, or even the record previously. What’s more, Toledo’s steady tinkering goes past concealing Easter eggs; he additionally returns to more seasoned chronicles until the point when he gets them right. Teenagers of Style comprised of re-recorded forms of tunes separated from his huge index (he put out nine discharges on Bandcamp before marking to Matador). Also, now he has taken that re-make/re-demonstrate motivation considerably further.

The new Car Seat Headrest collection, Twin Fantasy, is a totally re-recorded variant of a collection that Toledo initially discharged in 2011. There’s very little point of reference for this kind of do-over—if this were film, say, it’d resemble Steven Soderbergh re-production Sex, Lies and Videotape, which I could really observe him doing sooner or later. Be that as it may, Toledo, two years after his last clump of new tunes, clearly trusts enough in this collection to imagine that he can improve a form of it to impart to the more extensive world.

Twin Fantasy isn’t simply one more one of Toledo’s Bandcamp collections. It’s a goal-oriented tune cycle that has been held up by his little yet intense online religion as his gem. The tunes investigate in difficult detail the storyteller’s fixation on an anonymous man, a relationship that Toledo has said was situated to some degree all alone experience. It was initially composed when Toledo was 19, and the collection is properly thick with disarray and uneasiness and self-question, however the self-gash is distinctively cut with giggles. Also, regardless of whether it fits the criteria of an idea collection legitimate (there isn’t an unmistakable story from tune to-melody), Twin Fantasy feels particularly like a collection about a solitary ordeal. Beside a spur of the moment remark around an ex or two, there are just two individuals in each melody—the individual singing, and the person to whom it’s tended to (“Most of the time that I utilize the word ‘you’/Well you realize that I’m for the most part singing about you,” Toledo sings on “Anxious Young Inhumans”). On the off chance that the individual conveying the lines wasn’t so entertaining, the level of fixation may be somewhat startling. In any case, Toledo pulls off a collection with a bumping level of specificity that addresses emotions well-known to nearly any individual who has encountered youthful want and disaster.

Toledo’s storyteller in Twin Fantasy needs to get so near the protest of his fondness that they basically combine, yet whatever he can consider is everything that is pulling them separated. He sees pictures of his dearest all around (“When the prepare came it was so enormous and powerful…I needed to put my arms around it”) while suspecting they’re excessively fucked and harmed, making it impossible to influence it to work (“We were wrecks before we collided with each other”). He expounds on watching motion pictures and taking medications, transfers an anecdote about turning out to his companions while professing to be smashed, takes note of that having a body can be a drag. The story he enlightens isn’t concerning what happens, however what nearly happens, what he needs to happen, what he wishes didn’t occur. The present minute is dependably undermined by a memory or a desire; entirely from perusing the verse sheet, it’s never altogether clear if the relationship is something genuine or something that is occurring in Toledo’s mind. The guarantee of delight is washed out by sentiments of fear.

This makes Twin Fantasy sound dismal and serious, yet it’s really the inverse. The unstable courses of action and Toledo’s conveyance make it substantially more of a dim satire. Splendid individual lines heap up (“My spirit longs for an outlaw from the laws of nature” is a line that Silver Jews’ David Berman wishes he composed), however the record’s genuine virtuoso is in how the tunes stew and after that burst, in idealize match up with the circular segment of the sentiments. Early feature “Shoreline Life-In-Death” extends more than 13 minutes, an epic reflection on crude need and dark black self-hatred (“I am totally callous, I am unequipped for being human… it ought to be called hostile to wretchedness, as a companion of mine proposed, in light of the fact that it’s not the pity that damages you, it’s the cerebrum’s response against it”) with in a split second critical shouted chorales deserving of the finest power pop.

“Bodys” has the glimmering beat of the Strokes, and discovers Toledo remarking on the tune continuously as it unfurls—”Is it the chorale yet? No. It’s only a working of the verse, so when the tune comes it’ll be all the more fulfilling”— and afterward it conveys on that perception, with layered vocals that infer the stacked harmonies of ELO. The melodies never remain still, regardless, they’re generally during the time spent working up or separating, which influences this rough tail to feel significantly more eager.

Some will think that its stunning that an even lower-fi rendition of this collection exists. The creation esteems are some place on the lower end of cheap mid-level independent shake, however the meat-and-potatoes sonics eventually serve to make the record sound ageless. Plus or minus a Skype reference, it could have turned out in 1994. It’s difficult to know how the devoted who have been living with this collection for a large portion of 10 years will take its reexamination. Given the power of the music, the enhanced sonics give it more prominent weight, and the presence of two forms by one means or another makes the entire thing much additionally fascinating—blurring memory reflected and afterward re-collected—and it’s difficult to hear this return to as anything other than a triumph. Twin Fantasy isn’t a flawless record—the last half is impeded by soundscape-y entries and talked word, for a certain something—yet that exclusive approves it as an effective archive of teenaged torment and yearning.

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