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As Toledo explained to me, he saw himself as making music “for the Internet,” where his songs could exist free of backstory, without reference to time, place, or persona. When Car Seat Headrest began, Toledo was drawn to outsider musicians such as Jandek, the once reclusive experimental folk-and-blues artist, who has self-released more than sixty albums. Next year, he will release “Teens of Denial,” his first proper studio album.
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Intended as an introduction to Toledo’s daunting back catalogue, it features new, self-recorded versions of his old material. This week, Toledo and his newly assembled band will release “Teens of Style,” on Matador Records.
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On “You Have to Go to College,” one of his first songs, Toledo runs through a series of classic high-school preoccupations, from losing touch with friends to what it means to grow up and become a “decent human being.” Now we are entering the mid-twenties chapter of Toledo’s story, marked by a different calibre of worry.įor instance: his career. It’s like following a character through a series of inward, angsty novels, as if Elena Ferrante’s formative environment had been suburban parking lots, dorm rooms, and the Potomac River. Anxieties, particularly the pains and miscues of sexual self-discovery, rise to the surface, moving from subtext to song title. Riffs and choruses are revisited and reworked with new language to reflect changing times. Friendships and ambitions bloom from album to album. In the twelve hours of Car Seat Headrest music available on Bandcamp, a world of Toledo’s making slowly comes into focus, that of an oldies-obsessed pop prodigy perfecting his Beatles and Beach Boys melodies, mostly playing all the instruments himself. The rapper Lil B, for instance, owes his cult fame to the hundreds of earnest, contemplative songs he released on multiple MySpace pages. The Internet is often considered a distressingly permanent space, where one’s youthful mistakes are preserved forever, but it can also be transparent and emboldening, hospitable to a casual, low-risk approach that allows an artist to explore and edit his personality, and to be prolific in the process. But the site has allowed Toledo to work unencumbered by expectation, hidden in plain sight. There are probably more efficient ways to find fans. (They include the bedroom-pop musician Alex G, whose breakout album was released earlier this month.) But individual success stories are fairly modest.
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Earlier this year, Bandcamp announced that, through the site, fans had given its artists more than a hundred million dollars. It’s a music store that thrives on randomness-I’ve recently found some of my favorite new artists by peering at the wishlists of other users, including some of my former students at the college where I teach. Browsing Bandcamp can feel thrilling or frustrating, depending on how much time you have on your hands. In contrast, Bandcamp is a charming alternative, largely bereft of editorial guidance or heavy-handed gatekeeping. But these giants also succeed by imposing a gentle hierarchy on their vast libraries, offering friendly curatorial touches that ease users deeper and deeper into this digital infinitude. The major online music providers, like iTunes and Pandora, attract the most listeners, because their inventories are virtually limitless and grow by the day.
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Photograph by Ian Allen for The New Yorker “Teens of Style” is an introduction to Will Toledo’s back catalogue.
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Last year, at the age of twenty-two, Toledo released his eleventh album, which can be streamed for free on the site. He began to experiment with longer, stranger, more intimate songs, incorporating squiggly electronics and psychedelic squalls, and, after renaming himself Car Seat Headrest, began releasing a succession of albums on Bandcamp. But this reality proved to be liberating. It didn’t take long for him to realize that his plan was not going to get him a record deal. In 2010, he uploaded a collection of these wobbly, fairly traditional pop songs under the name Nervous Young Men, told people at his high school about his music, and waited. Inspired, Toledo began parking his family’s car in different places in his home town, Leesburg, Virginia, and recording songs on a laptop in the back seat, his only audience being the car’s headrests. It seemed as if all the group had done was upload its songs to Bandcamp, a largely unregulated online store where people can sell their music and merchandise at any price. When Will Toledo was in high school, he read an article about a New York indie band that was commanding the attention of the music industry.