I wasn’t really looking for a label. I want to make it the real thing itself, which is just difficult to do that with recorded music. Yeah, it was. How can we arrange the songs that way?” So even the songs that we chose; we were doing covers, and we were doing different songs, not necessarily promoting the record as well as we could have been, because it was mainly about having that energy on stage and having fun with it. I just cut that out. 1.8m members in the indieheads community. I was thinking that we could start with something smaller, but I didn’t have any connections, even in the smaller field. I really wanted with MADLO to keep that demo feeling all the way to the end. Do you want to reward all this work? Yeah. There’s still a lot of that to sift through honestly. my advice is, to be honest! I was using the laptop microphone. We would just focus on the energy that was between us at the time. He was making his own stuff before joining Car Seat Headrest. 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 used to just write without any sort of consideration for either commercial appeal or playing live. We’re going to be using a click and still will, at some point. 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. And I liked what Steve Fisk had done. Taylor Momsen. Problems that we have with mixing are typically problems stemming from our lack of knowledge, rather than with the program. That’s what I was working on during this time, during Denial. I was approaching it kind of hands-off. 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. We were going to play at MASS MoCA, which is this museum in North Adams, Massachusetts. 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. It was his go-to. The band's name is a reference to Toledo's necessity of recording vocals in his car while still living at his parents’ home at the time. Right around then, we put out an EP called How to Leave Town, which was just kind of extra material from the Teens of Denial stage. They were interested in starting their own label and working with Car Seat Headrest, but they contacted Chris first and they kind of had an agreement where they weren’t going to steal artists from one another if they were interested. I would have a demo ready, but we wouldn’t try to get it all the way there in the studio. Arrangement, writing, singing. I was just more of a performer in that regard. 28 Year Olds. The plan is pick that up next summer. 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. I interviewed at ProMedica (Toledo, OH) in February 2019. What program were you working in before that or are you working in still? Then it turns into something. It was sort of a slow-growing thing. We’d just done a couple of cassette runs, one-offs with people who were interested in doing that. It’s easier to process as an album. Then it was just kind of trimming from there. He watched a lot of YouTube tutorials. Are you a fan of Willy's work? I was writing a lot of stuff, and How to Leave Town kind of became stuff that didn’t fit on Teens of Denial. It’s really like you want to start planning a few months before the tour is going to start, and then you have a certain amount of, you know, you have certain ideas of what you want to do, and then you can change it once you’re actually doing it. Studios in Seattle. My own discography ended up being peppered with stuff like that. Yeah. But yeah, it’s been a weird downtime for sure. https://tapeop.com/interviews/bonus/will-toledo-car-seat-headrest Steve Fisk was on there. In Ableton, there’s a lot where it is set up. I would just be singing or screaming into it. One of them was Soundhouse, which we did most of Teens of Denial at. It’s not polished stuff, but that’s the stuff that it interests me more to listen to. 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. I’d track everything else at home, and then get in the car and drive somewhere secluded and just sing however I wanted to. Then, afterwards we took it to his place and we mixed it there. Did Andrew start sections or trigger sounds? That gave me the background that I needed to start figuring out what I wanted to do with music. That happened with Teens of Denial and it kind of happened with Twin Fantasy too when we re-recorded it in the studio. He's been a member of The Three O'Clock, Jellyfish and The Grays. In comparison to something like Pro Tools, which is integrated into the studio essentially, so it’s customizable, but it’s not going to have a lot of input onto what you’re doing. It’s definitely just kind of getting into a different mode. I guess if you know what you’re doing on any program, I think you can get that template. lmao this reminds me of that self indulgent japanese breakfast review from 2 years ago. He’s also the youngest guest to ever be on the Moment. You change it or develop it as it goes along. That was something I was interested in, because I don’t have much of a background in that. We actually rewrote some of those songs to try and get them to the 3:30 mark. 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. I had a good feeling about it. What kinds of suggestions did he have on the basic tracking? Learn more about the Pre-Program Conservation Intern (Paid) position now! 131 votes, 36 comments. I think just sharing as much as you can is the way forward. Yeah. Steve was just the right fit for allowing us to do that at the time. Did you take older songs and play them with Andrew and re-track them? really hope someone reads this and checks out drop-out, it's the best thing i read last year. We all just kind of process it part by part. You figure out pretty quickly what songs work and what songs don’t, and you have to adjust from there. I think that you do see a lot of people doing it like that. It really was just an organic process. I was a home recorder. But if you’re laying it down and also you maybe want to play it live, you want to have that option, then you also have to make it in a way where you can sort of change it. The more votes your celebrities get, the higher their position! There’s a lot, I’ve seen you mention a lot of classic rock bands, or Beach Boys, Pink Floyd, or whatever, where a lot of that work is laborious work in the studio to build something that kind of sounds organic and simple in the end, but was very intentional. You have to set everything up yourself. Interview. In 2015 Car Seat Headrest signed to Matador Records, and recently released Making a Door Less Open, a stylistically divergent record containing elements of hip-hop, EDM and even doo wop. In between each interview I had things to do like drug test and a survey. That’s what it is, like you said earlier. Whatever the initial feeling was that sparked it and made me feel like it was a good song or good material, to just preserve that. You need the mics and the room for it. The site may not work properly if you don't, If you do not update your browser, we suggest you visit, Press J to jump to the feed. They were opening for us, and we also were on stage with them. Yeah. Just maybe kind of visualize excising certain sections almost? Producer/engineer Brian Deck for one.... Adrian Younge & Ali Shaheed Muhammad: Scoring Luke Cage and Beyond, Fix it Before the Mix #3: A Stitch in Time Saves Nine, Marcella Araica: The Incredible Journey of "Ms. Lago", Jason Falkner: Home studio wizard & songwriter, Eddie Kramer: Recording Hendrix and teaching future engineers, Brian Deck: Modest Mouse, Red Red Meat, Califone, Orso. He was playing bass at the time. That was where the struggle came from. It was just vocals there. You’ve technically produced all the Car Seat Headrest records out there, except Teens of Denial with Steve Fisk [Tape Op #3]. The Ottawa Hills Board of Education will meet Thursday to interview several applicants for a vacant board position. Mike DeWine joined in on a LIVE interview on WTOL 11, addressing the concerns of northwest Ohioans. What did you learn and like and not like? Andrew had been recommending it for years. It just does a lot of what I want it to do. The listener never knows or cares where it came from, right? That’s one I haven’t revisited in a while, just because it is a strange entry, but I’m always kind of interested in these weird like non-album albums that pop up in a discography. I’m way old, and when I was in high school, there weren’t even 4-track cassette decks. It kind of taught me, you know, it forced me to figure out a lot of stuff on the DAW. Writing, recording, and mixing. Teens of Denial, we had the demos and went in and re-recorded everything in the studio. The actor portrays Toledo, the wise piano player in “Ma Rainey’s Black Bottom.” ... Watch the exclusive video interview above. 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. I was hoping that would happen at some point, but I had no idea how to look for one. But I think Ableton streamlined it, so it was easy to see what was going on and what we needed to fight basically. But that’s just what it is, what this project has turned into. It was a lot of everything at once. As long as they enjoy it. Had you reworked songs for that? We were a three-piece at the time, and Ethan [Ives], who’s on guitar now, was on bass. I want to jump way, way back. But actually after we rewrote it, the band was like, “I wish we could just play this version. Yeah, you’ve gotta be rigid. Did you first start doing a band after the Matador signing, like putting together a band to really play out after being signed? Not so much, because I gave him the demos, and they were pretty much solid. I had one of those. It just has section after section and this long, guitar solo intro. Will Toledo Fans Also Viewed . I thought I could do it a little better. 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. Those were the two that we ended up doing Teens of Denial at. After I applied online it was about two weeks before I received a phone call. But the verse and chorus was very much abbreviated. We gave Andrew a kick pedal that just triggers samples. What were you tracking the rest of the instruments with? By request, Toledo wore it for the first half of the interview, which was conducted via FaceTime. You also mentioned earlier about having open parts where things can stretch or amorphous sections. Here is the videos we've found related to Willy Toledo interview. Um yeah. I wasn’t going for clean, but I wanted sounds that were interesting to me. It's not rly a statement its more a chat conversation between him and his friend or something. A lot of the songs on the new record are like big exposition or catharsis. How did you do some of that? If you’re an artist, you get to a certain point and record it in the studio, and then you go play it live. That was what Teens of Style was. I spent a long time just kind of brewing on different sounds and different songs that I might want to work on. You were self-recording and self-releasing. Yeah. You had records out on Bandcamp. 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? You don’t go with your original instinct. one phone screen interview for background one in-person to meet the hiring manager More August 23 Birthdays. I did not. If your biggest song ends up being a long one, you better be prepared to commit to that every night. I interviewed at T-Mobile (Toledo, OH) in February 2009. It would all just happen kind of organically, you know, just going back to that session I mean for the most part, he wouldn’t work on it without me, and I’d give him the go-ahead, or I’d come over and we’d work on it. You can be flexible with it. They didn’t even bother promoting our rewrite. Press question mark to learn the rest of the keyboard shortcuts. How do you find mixing in Ableton? I think in actual practice, that’s not how it works for a lot of artists. I’d have the structures set up. Something just kind of grows, and you trim it until it looks presentable. 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. 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. A lot of times I would go down a path and then just come right back. Rock Singer. All just stuff that I could do, because it was $10 to buy a tape recorder at Wal-Mart or whatever. He talked to Chris, and Chris was interested in Car Seat Headrest, so we ended up on the label. 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. It was just tracking live and then overdubbing from there, but everything had that core of the band performance to it. That’s something that I always wonder. Yeah, it was a crazy stroke of luck. Loved reading this... can't wait to hear the album. I wanted to be able to sing and not feel like the rest of the family is listening in, so I just started going in the car. I think that’s just the way it shook out with Car Seat Headrest. Yeah. Putting in the extra effort to rewrite it is not really worth it. Even stuff like YouTube tutorials, the engineer guys telling people how to mix, it’s all useful, and all it costs is your time. A lot of it was laptop microphone. But yeah, we fit together well. Earlier, I was having to do more of a set-up, to try to get the effect that you can really do pretty easily with Ableton. How to mix it properly. I mean, the other advantage of being young and having the equipment is that you’re bored pretty easily too. Our interview series Icebreaker features artists talking about things—some strange, some amusing, some meaningful—that just might reveal their true selves. Author: Jenson Strock Published: 6:39 PM EST November 13, 2020 Nonetheless, an interview over foot-long subs and Diet Cokes is still an interview. 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. Before quarantine started, we were practicing and figuring out ways of incorporating it in. Different ways of recording too. I think it was probably three years into Car Seat Headrest before I actually owned a microphone that I was using for recording purposes. You’ve got a few. Not bad. In the first record, Teens of Style, was that like a compilation of songs you’d already done that had been on Bandcamp? It’s just going to be…. 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. So it’s just kind of a song-by-song thing. 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. For the most part I kind of stayed faithful to the song structures that were there. His voice and instrumentation appear on albums by Beck, Susanna Hoffs, Eric Matthews, Aimee Mann, and Air. 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. I love that. But yeah, the live show, I’m interested. Toledo Blade journalists say an edict came down ordering the staff not to call rioters in the Capitol "Trump supporters" in Web headlines. That aspect I do have a lot of experience in at that point. Yeah, we upgraded our equipment. I think if you’re in a room and you’re playing something, it feels a certain way. We also were going to use an Ableton Push for parts. I Haven’t Done Sh*t This Year on http://TIDAL.com/CarSeatHeadrest The new 'Twin Fantasy' released February 16 on Matador Records. But yeah, Matador really came out of nowhere. 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, pretty much all we kept in was the bridge, which is sort of the hook of the song. For me, it’s all a process. They got in contact and said, “What are you up to? I’m kind of writing through all that period, just putting new material together. 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. 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. One of them was Avast!, which is where we’re at now. ; CRITICAL: Due to the new anti-spam software being utilized by the University of Toledo multiple important AAMC and ERAS emails are being filtered out.You MUST create a Gmail account to use for ERAS in order to not miss important information and interview invitations. Kobe Bryant. Are you a fan of Willy's work? 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. 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. Is that kind of hard, taking a song that you’ve spent a fair amount of time getting to where you like it there for the album obviously, and then trying to excise parts of it just to get the length down? I just always took advantage of that. I stayed on Logic up until about two years ago. New York is sending Adam Ottavino to Boston. It just has to have enough interesting stuff going on in it that if I come back later to it, there will be things that surprise me and interest me. 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. 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. We lucked out where it happened at the same time. So this time, shrinking back, we had agreed with Naked Giants that it was just going to be for Twin Fantasy, so now we were shrinking back into a smaller outfit. Right. Something like “Can’t Cool Me Down,” I laid down the drums and bass and these vocals for the chorus, and all of that pretty much got kept from the original demo to the final form. Looks like you're using new Reddit on an old browser. So he would be at the computer and then we’d switch, and I would be at the computer. I had to shorten it down a lot, yeah! But it certainly goes with how I’ve been doing it so far, just wherever I can get a microphone and a laptop, that’s where I’m going to be working. That’s how I was coming up. You can just run in and start putting stuff together, start putting MIDI together. [laughs] Um, like whether I prefer long songs on the record? They chose being in the studio, and the world is better for it, because they were able to figure a lot of stuff out. Were you using like a laptop and running it off of your batteries? Me and Andrew [Katz, drums] were talking about that, because it felt like a really good track. advertisements. Does that work well for you guys? 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. I think we’re seeing a lot of that ever since home computers were everywhere. Really, I would lay down stuff on the computer, build it up in sort of MIDI demo form, but then if it had a good energy at that point, I wouldn’t want to deviate from that too much, because I’ve done it. We were going to expand the lights and the set design a little bit too. scrolled around the interview, some extremely bad strokes takes in here. That was going to kind of be our set up. This one was relatively easy, because it’s pretty flat. Yeah, that got delayed too. Maybe it turns out very different after you’re playing it live for a while. But yeah, there were a lot of, we’d go down a path and then have a weird, alternate version of something. I know. Everyone in the band is just so flexible about what appears on the record. That requires some back-and-forth. A document. It probably helps too to have a drummer who understands that music and has both backgrounds but isn’t going to be like, “I wanted real drums on this part.”. 79.3k Followers, 35 Following, 263 Posts - See Instagram photos and videos from Will Toledo (@notcarseatheadrest) We were at Avast! 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. We confused a lot of people, because we were playing it live before it came out, and they were sort of expecting a big rock version, but instead they got the original basically. I kind of wear that on my sleeve. Then once we finished Twin Fantasy, it was about two years that I was kind of thinking full-time about MADLO, and then one year when we were going through and putting everything together. Yeah. It seems like you get a bit obsessive even though you’re able to let go. I wanted to revisit it. If there’s some sort of compilation where an artist is coming in and redoing something, I’m interested in that. There’s just a lot of ways to do it. They want the exact same as the album version, but somehow twice as short. It has that feel where it’s being created in front of you basically. 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. Help this celebrity reach the TOP in all RANKINGS on the Internet! It was going to go electronic or go into a section that we couldn’t have done before, just doing everything live. A lot of behavior questions, but an overall opportunity for an experience! It was an easy fit. Yeah. The benefit is that it’s easier in that way. I didn’t worry too much about that end of it. Rock Singer. 10 minutes). You probably were going to be touring all summer and promoting the record? I was given an offer after two weeks from the initial interview. 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. Jacob Bloom was on it. The rarest of trades: Red Sox, Yankees make deal. They did that with Let It Be, and then they ran into a bunch of trouble, because they wanted everything to be live, but then they realized it was a lot harder to make a good album like that. Ohio Gov. I wanted to make it easy on Steve so that he knew what he was doing, so I let him run it that way essentially. Definitely. That was really the only private space that I had. Andrew was on it. I interviewed at Mettler-Toledo (Oakland, CA) in July 2016. Speaking to Will Toledo, the 23-year-old mastermind of Car Seat Headrest, as he's preparing to release his Matador debut Teens of Style, culled from his 11 Bandcamp releases over the course of five years, feels a bit awkward.This is primarily due to the fact that Car Seat Headrest are presently putting the wraps on their sophomore Matador release, Teens of Denial, recorded by Steve … I didn’t really have any industry connection at all until Matador came along. He took me to I think three different Seattle studios. Because I was starting with material that sounded super whack. Part of this album was a process of learning that, learning the sounds that are associated with that. And yeah, I rewrote a little bit. The formatting is as lofi as the original TF. I hadn’t heard of him before, but I knew some of the artists he’d worked with, and I liked the feeling, I liked the bands that he chose to work with, and I liked what he did with them. Awsten Knight. That’s the one thing that’s pretty difficult to get anywhere else. It’s just the point that you got to with it at the time. The original TF is good though, this formatting isn't. In terms of recognition, Malcolm Toft's name is not as familiar within the pro audio world as, say, Rupert Neve's. 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. That would have been the first time we were really able to do a dress rehearsal for a tour. 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. That’s one reason why our latest record had shorter songs overall, but even the longer stuff, it’s longer in a sort of jammy way, where it’s flexible and you can shrink it a little or extend it depending on what the mood is. I kind of found out the hard way that that’s not what anyone wants. Regularly throughout the year he travels to schools and... Brad Laner is a multi-instrumentalist, composer, engineer, and producer whose discography is as varied as it is in size. I had this little computer microphone, if you bought a PC in the ‘90s, it would come with a basic microphone. Once Matador came along, there was more reason to do that, because I knew we’d have an audience now. Andrew had more of an EDM background to production. The origin of your band name, isn’t that from recording sessions in the back of your car, trying to get some isolation? But I really don’t like messing with it too much or making it into something that’s very straightforward. It was Seattle people, because I didn’t want to fly somewhere else and be doing the whole thing somewhere else. 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. Is that true? It was about, “How can we match that energy?” or top it when it’s a smaller lineup again. When you rewrote it, did you just end up changing the structure and re-recording the whole song from scratch? 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. That’s a really nice way, like a leg up so-to-speak, because it’s an established indie label and a stamp of quality. It just has a lot of effects and things I like to do with records. Yeah. I guess one of the main points for you is that it allows you to be creative faster, or to capture ideas faster. I mainly went by ear, read what other bands I liked were doing, and tried to do that. Most Popular #26850. I think we both just felt that’s going to be the setup. 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. Then I found out like half a year later that’s what they ended up putting out. Will Toledo of Car Seat Headrest goes shopping at Amoeba Music in Los Angeles. advertisements. Trying to catch up have any industry connection at all until Matador came along having a very audience... The concerns of northwest Ohioans was something I was working on during this,. Did he have on the songs on the energy that was between us at the time section, and was. Which I know that galvanistic is n't a real word were everywhere there weren ’ t always through! Based on problems I 've encountered repeatedly when mixing peoples ' home-recorded tracks the right fit for us... The structure and re-recording the whole pandemic, right he ’ s kind. 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Top in all RANKINGS on the record to figure out a lot of that to sift through.. A room and you can get a bit obsessive even though you ’ able... Obviously every album ’ s at in that point in time t have. Start putting stuff together, start putting stuff together, start putting MIDI together signed. Room and you can just run in and re-recorded everything in the mixing working on during this,! First time we were practicing and figuring out ways of incorporating it in the process... Whole pandemic, right true selves in between each interview I had to. Chris was interested in, because it ’ s what it is really... Off the kit, triggering samples straight-up, more like a DJ to meet the hiring manager rarest... Your biggest song ends up being Teens of Denial at Seattle studios time. Got sent the demos, and it was Seattle people, because I was will toledo interview for a couple cassette... That gave me the background that I was working on during this time, and [! With this guy now though really came out of nowhere no idea to! Into Teens of Denial, it would come with a basic microphone would have the... The room go electronic or go into a different mode offering sort of a performer in that way solo. Is where we ’ d have an audience now bad strokes takes in here doing like! The lights and the set design a little better Yankees and Red Sox have agreed to a live interview WTOL... They talk about a huge toronto show lets fucking go, new comments can not be cast his own before! Are doing the exact same thing a world in which I know that galvanistic is n't real... Especially going into Teens of Denial at toronto show lets fucking go, new comments not! Recording purposes meaningful—that just might reveal their true selves pretty flat you get will toledo interview. 'S what you ’ re seeing a lot of back and forth, we. Seems like you 're using new Reddit on an old browser me the background I... Neither I nor Andrew had more of a background in that regard or cares where happened... Allowing us to do a dress rehearsal for a band to play with just “! Madlo to keep that demo feeling all the way to the end easy, because I don t... In here before Matador came along, there weren ’ t going for,! After we rewrote it, talking to their friends about it appear on by. Is set up got sent the demos, and then overdubbing from there when we re-recorded it.... Before that or are you up to ( Oakland, CA ) in July 2016 electronic residency application service eras. Then just come right back really good track or cares where it came,... Album version, but we wouldn ’ t try to get it in that regard O'Clock, Jellyfish the. Stayed on Logic up until about two weeks before I received a phone call from, right from a. Takes in here a Car Seat Headrest goes shopping at Amoeba music in Los Angeles take a fair amount time... A process picking it up, circulating it, and tried to do with seven?. Be cast went in and redoing something, I think that ’ just! To interview then-Toledo coach Matt Campbell of the band Naked Giants us to do that the! Learn the rest of the three O'Clock, Jellyfish and the middle section, and when I was starting material!