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Car Seat Headrest

Transverso's Guide to Pitchfork Music Festival 2016

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Chicago is no stranger to music festivals. From Lollapalooza to Spring Awakening, the city boasts such an impressive lineup of lineups that it takes a uniquely impressive roster for a festival to stand out.

But over the past 11 years, Pitchfork Music Festival has carved out a space as one of the most consistent and distinctive weekends of the festival season, and it returns to Chicago’s Union Park this weekend to protect that title with a lineup that’s as confounding as it is exciting. After all, what other festival would juxtapose the aggravated experimentation of Girl Band and Oneohtrix Point Never with the powerhouse pop of Shamir and Carly Rae Jepsen? What other mainstream festival inexplicably devotes a sizable portion of its lineup to intricate jazz acts like Sun Ra and Kamasi Washington? What other festival hears Sufjan Stevens’ pained folk opus Carrie & Lowell and thinks “Now THIS is headliner material!”?

Yet for all of Pitchfork’s idiosyncrasies, there are some unfortunate elements it shares with its summer festival brethren: oppressive heat, unruly crowds, and a mystifying undercard filled with bands you’ve never heard before. While we can’t help you with the first two, we can offer a carefully curated guide to this year's lineup that highlights who we're most excited to see, as well as some excellent acts you might not be as familiar with yet. If you saw two bands you love on the schedule and impulse-bought a weekend pass, this is your chance to do your homework before gates open. Eventually you'll be able to tell your friends, “Oh, I saw [insert buzz band here] before they blew up,” as you’re waiting to see them headline a much larger festival, and after all, isn’t that what Pitchfork is all about?

Fire up the playlist below and check out Transverso's staff picks for this weekend:


Car Seat Headrest (Red Stage - 3:30)

In the recent avalanche of acclaim for his excellent Matador-released duo of LPs Teens of Style and Teens of Denial, Car Seat Headrest mastermind Will Toledo has been repeatedly praised for restoring dignity to that once-mighty staple Indie Guitar Rock. Whether or not “white dudes with guitars” is a genre that needed any help is debatable, but it is notable that CSH is opening the festival; after all, this is a band trafficking in a sound that once defined blogs like Pitchfork, and it’s a band that does it better than pretty much anyone else. Toledo is operating at the top of his game, both as a dynamic bandleader and a bluntly engaging songwriter, and you owe it to yourself to show up early and see him in action. (Julian Axelrod)

Whitney (Blue Stage - 4:15)

Buzz bands, man; they build and build into this ascendent phoenix, and at no point does anyone entertain any sort of demise (who would be liable for blame here... oh yeah, Pitchfork). Whatever the year, there's going to be one or two groups that materialize seemingly out of nowhere, and everyone believes "this might be the one." Which one, you might ask - no one really knows; it all seems vacantly aspirational. Following the Chicago locals' debut Light Upon the Lake, Whitney is 2016's buzz band du jour, but there's something about the former UMO man Julian Ehrlich-fronted melancholic machine that feels more purposeful than buzz bands passed. It's as if the mellifluous tones act as a misdirect from the calculated drive that "will be the one" to overcome the all too familiar buzz band descendent. Plus, they've got some dulcet guitar tones from Smith Westerns veteran Max Kakacek to go along with euphonious falsetto of Ehrlich. (Sean McHugh)

Moses Sumney (Blue Stage - 5:15)

There are some musicians whose make music so personal and achingly intimate that it seems almost perverse to see them perform in a festival setting (and many of them are playing Pitchfork this year!). But something about Moses Sumney’s music feels perfectly suited to a mid-day festival spot, where audience members can sway along as his ghostly falsetto dances around his hymn-like rhythms like an afternoon wind through the trees surrounding the Blue Stage. The California singer-songwriter doesn’t have much recorded output (he’s currently working on his debut 7” with Grizzly Bear’s Chris Taylor) but the opportunity to witness an astounding talent like Sumney before his inevitable ascent is hard to pass up. (Julian Axelrod)

Twin Peaks (Red Stage - 5:30)

Is scuzz rock a thing yet? Who knows? At this point, it seems almost certain there's going to be some reticent all-father of scuzz rock that will surely have a "sublime" rock-doc chronicling said public reservation, but for the time being, modern scuzz rock has been catapulted to the media-savvy masses due in large part to Chicagoans Twin Peaks. Lynch-ian name aside, the dudes in Twin Peaks will crush the grimiest hits only to turn around and slice you with a deft riff of garage punk wonderfully debased by scuzz pedals. Its a masterclass in punk rock sensibilities, with all five members likely to make a mockery of the pretension expected at Pitchfork. (Sean McHugh)

Mick Jenkins (Blue Stage - 6:15)

Let's be real here, Pitchfork is lacking heavily in the arena of hip-hop, rap, of urban culture in general. Feel free to attribute such a fact to manicured digits of Conde Naste, or perhaps this year was "thin" on "quality" rap artists. (Oh wait, it wasn't/isn't.) Thank goodness for Mick Jenkins - the bracket-ly inclined rapper from Chicago is bringing some swerve to a considerably emotionally, consciously, emphatically tepid lineup on the first day of Pitchfork. Expect to see Jenkins finally perform some tracks from his recently completed [T]he [H]ealing [C]omponent, along with tracks of the stellar [W]ater and [W]aves(Sean McHugh)

Carly Rae Jepsen (Green Stage - 6:25)

Is Carly Rae Jepsen an unknown artist waiting for her big break? No. Is she on an independent label? She is not. Is it weird that she’s playing this festival at all? Yes, it is very fucking weird. But put aside your preconceived notions about labels, genre, and fame and put on “Run Away With Me”. Listen to the opening saxophone wail, the breathy vocals and breathless crescendo, the heart-stopping beat before the massive chorus. Imagine experiencing that live in a giant park with a bunch of sweaty Pitchfork readers. Savor how weird and wonderful it is that one of the most prominent pop stars of our time is on a festival lineup with Sun Ra Arkestra. Pitchfork Fest only happens once a year – why not have some fun? (Julian Axelrod)

Broken Social Scene (Red Stage - 7:20)

One of the greatest indie bands no one seems to talk about, know about, or understand. At the very least, the Canadian collective has seen a revolving door of members that have gone on to become Feist, Metric, Stars, Tortoise, and Jason Collett. They've put out a handful of some of the greatest indie-records of the past two decades - You Forgot It People in 2002, and a self-titled LP in 2005 - and yet people still seem to have overlooked every last ounce of great music BSS has produced. While the complete lineup for BSS has not yet been determined (there have been times where only six members play a set, and nineteen the next), don't be surprised to see appearances from some of the larger names borne out of BSS (looking at you, Leslie Feist). So for the love of all that is good in the world, go pay your respects to your indie deities and see Broken Social Scene. (Sean McHugh)

Shamir (Blue Stage - 8:15)

Hi, Hi, howdy, howdy, hi, hi; Shamir is playing Pitchfork Friday night. This is going to be a dance party unseen by any other act sharing the Friday evening bill with Shamir. I highly doubt you're going to see any new-age Madonna vogueing mixed with Harlem Fela Kuti at Beach House or Twin Peaks, but you will definitely see it in one way shape or form at Shamir's set. Still running off the power of Ratchet, Shamir's sweet demeanor on stage mixed with the playful panache of his lyricism will undoubtedly make for a fun time while closing out the festival for the evening or finding some emotional respite before heading into the vibe-heavy Beach House set. (Sean McHugh)

Beach House (Green Stage - 8:30)

Rarely will you see a band perform so gracefully despite being so far out of their element as Beach House at an outdoor festival. In an interview with Pitchfork themselves, guitarist Alex Scally recounted how the 2007 edition served as a disastrous first festival appearance for the dreamy Baltimorean duo, as they failed to adjust to the conflicting noise and quick pace. Fast forward to 2016, and coming off the back of a one-two punch of stunningly gorgeous albums in Depression Cherry and Thank Your Lucky Stars, the pair are undoubtedly set to put in a far more veteran shift in their fourth Pitchfork appearance nearly a decade later. While the exposed stages of the outdoors will never offer peak conduciveness to the trancelike Beach House experience (and you do owe it to yourself to witness them at their best), having seen them at both ends of the spectrum from Bonnaroo's afternoon chaos to an intimate, dark theatre, I can attest even their lowest point is still swirling somewhere up in the loveliest clouds. (Weston Pagano)



Circuit Des Yeux (Green Stage - 1:00)

Oh boy, here you go folks - if you fancy yourself an aficionado of good or "hip" music, or if you're one of those jagoffs that loves to say "I saw them before they were big," then here's your chance. Circuit Des Yeux is the work of Jackie Lynn, a highly prophesied Gemini out of Franklin, TN, that has since wandered her way up to Chicago to bring her femme fatale experimentalism to Pitchfork. Think if David Bowie met Roseanne Cash did tabs upon tabs; their vision quest brought them to Circuit Des Yeux. Its going to be a guaranteed weird old time. (Sean McHugh)

RP Boo (Blue Stage - 1:45)

One of the egregiously overlooked pioneers of Chicago footwork, RP Boo is going to bring some heavy grooves to Pitchfork to break up all that indie rock and brooding. Its probably going to be a small crowd at RP Boo's set, but that's fine by him, because Kavain Space is accustomed to being underrated and flipped over, but don't expect his music to be any sort of by-product of such an unfortunate reality. Be ready to dance your ass off at this set. (Sean McHugh)

Kevin Morby (Green Stage - 2:30)

You may know Kevin Morby from his stints in bands like The Babies and Woods (who also play Pitchfork this year), or you may know him from his excellent solo career. But you don’t have to know him from Adam to enjoy his warm, lived-in folk rock, which recalls the likes of Bob Dylan and Leonard Cohen in its lyrical specificity. (Check out “Dorothy,” a love song so heartfelt and tender you don’t even notice it’s about a guitar.) If you’re trying to kill time on a warm festival afternoon, it’s hard to do better than Morby’s propulsive, sprawling Americana. (Julian Axelrod)

Royal Headache (Blue Stage - 2:45)

A gang of punks comes to America from Australia. They call themselves Shogun, Law, Joe and Shorty. They proceed to fuck shit up. If this sounds more like the plot of a Mad Max sequel than the backstory of a Pitchfork act, that’s because Royal Headache are not your average buzz band. Over the course of just two albums, the group has perfected their signature brand of tuneful, heartfelt garage rock, bringing the acidity and wit of '70s punks like the Buzzcocks into the 21st century. If nothing else, you should check out their set to witness Shogun’s throat-scraping howl in person. (Julian Axelrod)

Savages (Green Stage - 4:15)

Go to Savages' set, for the love all things that are punk rock and not indie, go to Savages' set. Jehnny Beth (who recently made non-news with her "feud" with fellow fest act Sufjan Stevens) and her cohorts in Savages put on one of the best and most impressive live performances in terms of bravado and pure wall of sound fury. There's no frills of "hey guys, we're so honored to be here," but rather an unabashed smash-a-bottle-over-your-head existentialism that is a right of passage brilliance. Savages are arguably one of, if not the best live band on the festival circuit in 2016, so consider their set to be a nice upper before you head into the smooth grooves and grinds of, say, Dev Hynes. (Sean McHugh)

Blood Orange (Red Stage - 5:15)

Dev Hynes, otherwise has known as Blood Orange, distills what it means to have a contemporary musical sensibility. Drawing from everything, whether it’s post-punk, '80s soul, pop, and funk, free jazz, or the Golden Age of hip-hop, Blood Orange isn’t afraid to take genre and obliterate it. Coming off his critically acclaimed 3rd studio album, Freetown Sound, Dev has mastered his craft and his message. If there was ever a time to see him, now is the time, and like Kendrick Lamar, Blood Orange’s music is dialed in on the current state of affairs in this country. Do your do-diligence a favor by seeing this artist perform. Also, the man can dance. (Andrew Meriwether)

Brian Wilson performing Pet Sounds (Red Stage - 7:25)

This will be short - it doesn't matter who you are, what music you prefer - go see Brian Wilson. He's playing arguably the most formative pop record in all of music, Pet Sounds, in its 50th ANNIVERSARY, its a modern masterpiece, and a relic of what led to all this indie nonsense we listen to now. Go see Brian Wilson, you dopes. (Sean McHugh)

Anderson Paak (Blue Stage - 7:45)

I’ve never scheduled a music festival before. It seems like a tough job; no matter where and when you put each act, people are going to be upset that two of their favorite bands are playing at the same time. That said, what were the festival organizers thinking when they scheduled ascendant singer-rapper-musician Anderson Paak to play opposite Brian Wilson? Did they not think these two polymath masters of California soul would have any shared audience? Regardless, Paak’s set is required viewing for anyone who couldn’t care less about the Beach Boys. On his sun-kissed opus Malibu, he gleefully skips between sounds and styles, displaying a disregard for genre that comes with knowing he excels at everything he tries. If you don’t want to spend your Saturday night seeing a legend’s last bow, you can spend it watching a legend in the making. (Julian Axelrod)

Sufjan Stevens (Green Stage - 8:30)

Let's be honest, if you read Transverso, you're probably a Sufjan Stan. So you're already planning on bawling your eyes out at his set, as you should. It's a no brainer, and if you skip it, you might actually be brain dead. (Sean McHugh)


Kamasi Washington (Red Stage - 3:20)

Its amazing to consider the fact that someone who is likely to go down as the finest modern neo-afro-jazz performer of a generation keeps getting thrown into such shitty festival slots. Kamasi's 2015 release The Epic is already one of the greatest albums of the decade, and will likely continue suit to become one of the best in the first half of the first century of the new millennium. Expect to be torn about by torrid saxophone and heaving afro-beat fusion only to be rematerialized by neo-classical soul that only Kamasi could provide. (Sean McHugh)

NAO (Blue Stage - 3:45)

Hey you hipster dopes! Here's another artist playing Pitchfork that (if you're lucky) you'll happen upon and two years from now, gleefully gloat about having seen her before she blew up! Or you'll just lie, because you know she was on the bill, but you didn't go because you actually just listen to the same homogenized aesthetic of music! Neo Jessica Joshua is going to break onto the scene like no other electro-funk artist has. She encompasses the pure new age R&B revivalism that music counter culture has so willfully embraced, and will undoubtedly usher in a new era of pop and R&B sensibilities to trip-hop and the like. (Sean McHugh)

Empress Of (Blue Stage - 4:45)

The Chicago Reader recently published a piece criticizing the gender disparity of Pitchfork’s lineup, and while the festival is definitely lacking in female artists, there are plenty of incredible women scattered throughout the lineup. Take Lorely Rodriguez, who records thoughtful, incisive electropop under the moniker Empress Of. Rodriguez’s songs play with a subtle tension between listener and artist, from her frantic beats to her pained cries to the topics she addresses in her music, such as gender roles and class disparity. She's also coming off a recent feature in Blood Orange's impressive Freetown Sound, and you can see her on Sunday to prove that incredible artists can always draw a festival audience, regardless of gender. (Julian Axelrod)

Neon Indian (Red Stage - 5:15)

Here's one of the most indomitable indie-pop electro bands to cut their teeth in the post-Aughts era, and they just continually manage to get wedged in between other sets for one reason or another. But that never stopped Alan Palomo and co. from putting on a hella good show, and put on a good show they will. Their 2015 release, Vega Intl. Night School was criminally overlooked by many a mediocre media outlet, but look out for standout tracks from the record like "Smut!" and "61 Cygni Ave" in the live set to keep you more than just interested. (Sean McHugh)


Jeremih (Green Stage - 6:15)

Every year, it seems like the indie crowd decides it would be ironically funny, or charitable (get over yourselves) to randomly select an early-Aughts R&B stalwart and suddenly plaster the "cool" ascription upon them. 2014 it was The Dream, 2015 T-Pain, and it looks like 2016 has seen Jeremih receive the indifferent title. Whether you're up to snuff on your knowledge of early-Aughts R&B or not, you have got to see Jeremih for the deep cuts off of his self-titled and stay for the dark hour virility of Late Night as well as Jeremih's rumored collaborations with PARTYNEXTDOOR. (Sean McHugh)

Thundercat (Blue Stage - 6:45)

It’s rare for session players to attain solo stardom, and that feat is even rarer for session bassists. But most musicians don’t have the vision, talent and ambition of Stephen Bruner, aka Thundercat. Whether you know him from his work with Kendrick Lamar and Flying Lotus, or his own jams like “Oh Sheit It’s X,” Bruner is a force to be reckoned with live, wielding his four-string like a weapon and leveling crowds with intricate basslines. There’s a good chance you won’t see anything else like Thundercat all weekend. (Julian Axelrod)

FKA Twigs (Green Stage - 8:30)

Non-conformism has become a little overwrought with this current generation of "don't you dare put me in a category" generation of pop-artists, but they all inevitably wind up being pretty much one in the same. FKA Twigs, however, is unequivocally her own entity, to the point of which it seems almost as if Twigs' role as pioneer pop fatalist has seen the likes of Madonna and Beyonce try and mimic (and of course, fail). The former choreographer not only has sumptuous and tempestuous post-R&B beats to help fuel the live performance, but her falsetto is so enviable, its hard to picture anything other than a cherubim uttering at the same octave. (Sean McHugh)

Oneohtrix Point Never (Blue Stage - 8:45)

You're looking at one of the most acclaimed electronic artists in the history of the genre in Daniel Lopatin, and you're getting a chance to hear one of the seminal genre records in a decade live - what more could you need to be brought to the set? (Sean McHugh)

Car Seat Headrest Finds Magic in Monotony on 'Teens of Denial'

Music ReviewJulian AxelrodComment

Youth has always been a prized commodity in popular music. Whether they’re celebrating it before they lose it or looking back fondly after it’s gone, songwriters hold youth in such high regard that they lose sight of a simple, universal truth: Being young is the worst.

No one understands this better than Will Toledo, the 23-year-old mastermind behind Car Seat Headrest. Toledo has had an exciting trajectory over the past few years, as his bedroom-pop solo project evolved into a full band and signed with indie mainstay Matador Records. After last year’s acclaimed retrospective Teens of Style established CSH as a major force in the indie rock scene, Teens of Denial could have served as a victory lap; now that Toledo has made it to the big leagues, there’s nowhere to go but up.

But Teens of Denial is not a triumphant album. Success has not changed CSH’s songs, some of which have been in the works since 2013; if anything, this record sounds even more defeated than its predecessors. This is a virtue, as it allows Toledo to display his nearly unparalleled knack for humorously articulating the tiny chaos of being lost and bored in your early 20s. “It’s more than what you bargained for / But it’s a little less than what you paid for,” Toledo sings on “Destroyed By Hippie Powers,” a line that serves as the M.O. for the entire album. Confusion and guilt and anger permeate the lyrics, but Toledo imbues them with a wry levity and an offhand smirk that mask their bleak sentiment. Verses play out like shouted arguments between a parent and teen through a recently slammed bedroom door, as on opener “Fill in the Blank” when Toledo yells, “You have no right to be depressed / Haven’t seen enough of this world yet / But it hurts, it hurts, it hurts”.

But more often, that anger is directed inwards, as Toledo details the countless failed schemes and personal flaws that keep him from rising above the banality of his small town. Take “(Joe Gets Kicked Out of School for Using) Drugs With Friends (But Says This Isn’t a Problem)”, an exhausted (and exhaustingly titled) ode to our inability to curb our own self-destructive tendencies that features the indelible line “Last Friday I took acid and mushrooms / I did not transcend / I felt like a walking piece of shit in a stupid-looking jacket.” In the world of Car Seat Headrest, even psychedelics are just a different way to feel miserable.

As stunted and ineffective as the narrator comes across, Teens of Denial is CSH’s most sonically mature effort to date. The lo-fi trappings of Toledo’s Bandcamp days have been updated with a professional studio sheen that highlights the lyrics without sacrificing their urgency or impact. The hooks are stronger and more streamlined, with anthemic riffs and harmonies that glow like the sun through your window after you’ve slept til noon. The record hums with a spirit of experimentation, as if Toledo is thrilled to try out the opportunities afforded by a professional studio setting. His oddly affecting falsetto and a beautiful synth arrangement elevate the stellar “Drunk Drivers/Killer Whales,” while the 11-minute epic “The Ballad of the Costa Concordia” crescendos into an existential power ballad as Toledo rattles off a laundry list of lessons he never knew he was supposed to learn before adulthood. The song culminates in a cathartic chorus of “I GIVE UP” screamed over and over again, like an invocation chanted to keep his responsibilities at bay.

His efforts are unsuccessful; by the next song, our hero is back to complaining about how he’ll never get a job. But coming at the end of such an accomplished work, it’s a little hard to believe him. In Teens of Denial, Toledo has created a supremely confident album about crippling self-doubt. The job market may be dire, but at least Toledo has a fallback gig as the reluctant voice of a generation.

The Top 30 Records of 2015

Music ListTransverso MediaComment
2015 year end photo.png

3. Beach House - Thank Your Lucky Stars

Thank Your Lucky Stars acts as both an extension of and pivot point for Beach House’s career as a whole. Many may want the band to actively change in a progressive way, but the band chooses to continually broaden their sound in the most familiar and microscopic ways possible instead. Perhaps one of the best integration of all five preceding albums, you hear the metronome, drums are crisper, individual instruments are audible, and Victoria Legrand’s lyrics are unexpectedly discernible at certain points. It's what works for them, and its afforded Beach House the ability to carve out a dream-pop legacy (and avoid becoming a caricature) on their own terms.


2. Majical Cloudz - Are You Alone?

Are You Alone? takes off where the Montreal duo’s preceding Impersonator left off; a paradox of bare-bones, minimalist soundscapes ebbing with lush depth that are somehow simultaneously tranquilizing and uplifting. Welsh’s immaculately vulnerable monologues and unflinching vocals are gently bold, and they drive their synth lullabies forward with severe care. It's Welsh at his most overbearing, and yet his tight grip is irresistible. Calculatedly organic, passionately controlled, it’s a journal reading in a dream.



1. Tame Impala - Currents

Currents is the most adventurous, interesting, and well-produced collection of songs Kevin Parker has created thus far, sitting atop Tame Impala's discography as the most mature and painstakingly crafted iteration in their twisted psych-pop world. From the lush synth tracks that bubble through the mix to his effortless, washed out vocals, every sound is rendered with the utmost care. Currents proves Parker is unable to stick with a certain sound, forever looking for new ways to evolve his ideas and push his project beyond what was expected when Innerspeaker first hit the shelves.


'Teens of Style' Is Rebirth of Car Seat Headrest's Furtive Journey

Music ReviewSean McHughComment

Is there such thing as an overqualified musician? Does releasing eleven albums without any label backing constitute a titan of recording? What the hell does Car Seat Headrest even mean?

Rhetoric aside, Will Toledo is a millennial marvel - the twenty three year old man behind the automotive-comfort nom de plume Car Seat Headrest has recorded and released eleven albums since 2010. October 30th will mark Toledo’s first album released with a label, Teens of Style. Out on Matador Records, TOS is a refurbishing of some of Toledo’s more prominent tracks from his extensive pre-existing discography.

Perhaps the preeminent bedroom-based producer of the Twenty Teens, Toledo’s work as Car Seat Headrest runs the gamut of musical inspirations. With songs reminiscent of Weezer, Brian Wilson, Daniel Johnston, and Beck, TOS acts as a proper retrospective of Toledo’s growth as a writer and performer. Songs that had once been released under the pretense of personal amusement and catharsis from life in Leesburg, Virginia have been repurposed as a formal introduction of Car Seat Headrest to the indie masses.  

TOS opens with “Sunburned Shirts,” an ambient psych rock track that first appeared on Toledo’s 2013 release My Back Is Killing Me Baby, is retooled as an aloof and apologetic narrative that blows itself up halfway through, becoming a raucous convulsion of surf guitar and filtered vocals.

“The Drum” (My Back Is Killing Me Baby, 2013) ushers in the Matador era of Car Seat Headrest angst, having abandoned his moniker-earning recording practices (recording in the back of his family car) and traded them for full-fledged production that asserts Toledo’s truest feelings of boredom and self-awareness.

Many songs on TOS exhibit Toledo’s distinct perspective of detachment from certain banalities of life, such as “Something Soon” (My Back Is Killing Me Baby, 2013), with its Brian Wilson-esque harmonies that veil indefinite boredom with lines like, “I want to sing this song like I’m dying.” Or “No Passion” in which Toledo remarks on trite millennial discontent, remarking, “Still alive / No perspective / Album is over / Go to bed sober.”

Other songs on TOS offer bleak insight into Toledo’s heightened self-awareness. “Time to Die” (Monomania, 2012) is an offertory of alienation and frustration with the divergence taken early on in others’ lives – “All of my friends are getting married / All my friends are right with God.” The sole new song for TOS, “Bad Role Models, Old Idols Exhumed ("Psst, teenagers / Put your clothes back on"), extends these emotions that Toledo has undoubtedly run into with his increasing acclaim, indicating passive aggressive tendencies like “I’m going to delete you,” as a means of escape.

Toledo’s solitary and honest dissemination of his inner-workings, up to this point, have been undoubtedly impressive, with Teens of Style acting as the punctuating mark on Car Seat Headrest’s furtive journey. In his typically prolific style, Toledo has already announced Car Seat Headrest’s next Matador release Teens of Denial which will feature all new material, but for now, Teens of Style will surely be an introduction and continuation of a budding indie luminary.