(JOSH LISTENS TO) CAR SEAT HEADREST (BUT SAYS THIS ISN'T A PROBLEM): "Teens of Denial" album review and sampling discussion...

The albums that you weren't anticipating are always what end up being your favourites. This is the case with the new album from Will Toledo's project Car Seat Headrest, as it caught me off-guard with its release back in May and I have been steadily listening to it ever since. It simply has me coming back with its lo-fi charm, incredibly catchy guitar hooks and meaningful lyrics.

Once you get the past the absurd name and get onto the first track, (eventually coming to understand that his vocals were recorded in Mr. Toledo's car with his earlier releases) it just reels you in. "Fill in the Blank" is a perfect starter, giving you a taste of what is to come with its quirky opening vocal snippet, punchy guitars and angsty-ridden vocals. This is beyond cemented with the line; "If I were split in two I would just take my fists, so I could beat up the rest of me." No further explanation needed. It's a quick and dirty opener featuring a riff so upbeat and attention-grabbing that it initially distracts you from the darker side the lyrics present. It brings up a comparison to the garage rock tinge of The Strokes, but given their material post-"Is This It" that would be more of an insult than anything anywhere near positive. Its ultimately irrelevant, but the music video has to get bonus points for its clever premise:

What follows next is the album's lead single "Vincent", throwing a curve ball with a slow and gradually building twang before delivering an almost funky flavour, utilising saxophones and trombones for certain sections, serving as a memorable counter to the more straightforward tone that just preceded it. The trend continues throughout the rest of the album, delivering familiar yet inventive lo-fi thrills that the project has become known for since their most notable release "Twin Fantasy" back in 2012. The delightfully titled "(Joes Gets Kicked Out of School for Using) Drugs With Friends (But Says This Isn't a Problem)" is a psychedelic comedown that climaxes with a meaningful and catchy refrain that nods to conformity and the repetitive alienation that drug use eventually entails, cycling between whether drugs or friends are better than one another. 

The discussion of sampling comes into play with the following track, formerly known as "Just What I Wanted/Not Just What I Needed" and now known as "Not What I Needed" after a sample failed to clear in the previous variant. As the title alludes, it utilised an unauthorised sample from one of The Cars' most famous hits "Just What I Needed", leading to a recall of all copies of the original as the sample was thought to have cleared but bounced due to their front man Ric Ocasek disagreeing with the usage of samples. Whilst it is certainly within his rights to do so, as it is his own original material, to not even consider the context of its use is certainly debatable as Toledo states: "I don’t think that Ric ever listened to the album or the song, which is the only part that really bothers me." The lack of an open mind in the homage that only ever had good intentions is boggling, with the entire conversation that this issue sparked revolved around the legalities and not the artistic merit that the sample entailed. Naivety aside, that is obviously not the case when it comes to an individual's copyright ownership. A great shame nonetheless, as having heard both versions, it continued the theme of familiarity but with a twist before the song subverts your expectation and does its own thing. A tribute put to bed by a last minute technicality. What we ended up with is of equal strength however, with Toledo's desperate squeal: "I know when I'm being catered to!" ingrained into my brain for many days even after hearing it initially.

Yet another notable moment on this album comes with the track "Drunk Drivers/Killer Whales", an anthem for all the drunk drivers out there. Don't. "It doesn't have to be like this," heard prominently on its way out, lending itself both to its obvious message against drunk driving but to life as a whole. Shed the self-loathing and get on with it, not in captivity, much a reference to its alternate title. As the line is proclaimed, it ties it all together, delivering a satisfying climax that is riveting.

What is ultimately my favourite track is the epic 11-minute behemoth that is "The Ballad of the Costa Concordia", posing life as if it were, as optimistically as ever, a sinking ship, it's disastrous namesake. A slow build that comes to an intense spoken-word breakdown that shows its just sometimes too much to handle. It in the case of its thematic and its real life basis, it certainly was an expensive mistake. How the hell was he supposed to steer his ship? The dour tone in his voice as the guitar heightens and the tempo builds accelerates the feeling of helplessness whilst still remaining accessible and simply a joy to listen to. That's all only by the time the track reaches its mid-point, the track that keeps on giving, throwing so many ideas at you with its lyrics it almost becomes overwhelming, much like the scenario that the song places itself in. This track alone feels like a long journey that's come to a bittersweet end, the pressure gradually builds, you breakdown, and then you give up.

The album as a whole is what it is: it's guitar-driven indie rock with an incredibly sharp wit and ambition that backs it up, it's personal in nature, proving to you and me that this could only have come from Will Toledo, it's unique to him. It just so happens that what he has to say is enthralling. It's lengthy and is borderline indulgent, but stick with it. Humour it. It pulls you in with catchy hooks and keeps you coming back with its vulnerable insight into the man himself, with so many memorable lyrics and quirks to pick from. How was I supposed to know how great this album truly is?