The Bowery Presents
The Lemon Twigs, Whitney, Methyl Ethel, Bayonne, Nico Yaryan, Aquilo, Mild High Club, Ben Abraham, Fraser A Gorman, Zachary Cale, Hooton Tennis Club, Car Seat Headrest

The Bowery Presents CMJ Party

The Lemon Twigs, Whitney, Methyl Ethel, Bayonne, Nico Yaryan, Aquilo, Mild High Club, Ben Abraham, Fraser A Gorman, Zachary Cale, Hooton Tennis Club, Car Seat Headrest

Sat, October 17, 2015

Doors: 12:00 pm / Show: 12:30 pm


New York, NY


This event is 21 and over

The Lemon Twigs
The Lemon Twigs
Once or twice every generation, Long Island introduces the world to artists of such singular originality that they change the very nature of their art: Lou Reed; Jim Brown; Robert Mapplethorpe; Andy Kaufman. With their debut album for 4AD, ‘Do Hollywood,’ The Lemon Twigs have earned themselves a spot on that list.

Fusing tightly constructed pop, sophisticated orchestration, and British invasion melodies into a ten-song masterpiece, the D’Addario brothers—Brian (19) and Michael (17)—are whipping fans and critics alike into an utter frenzy. NPR hailed them as “fabulously weird,” Brooklyn Vegan raved that “they need to be seen to be believed,” and The Line Of Best Fit dubbed their music “near perfect…the best lo-fi rock & roll anthem you’ll hear this decade.” The Guardian, meanwhile, crowned the album “a triumph of detailed richness and sumptuous melody.”

Born into a musical family, Brian and Michael grew up on The Beach Boys and The Beatles, whose albums and films played constantly in their house. As toddlers, they were already harmonizing on “I Want to Hold Your Hand,” and soon they were playing drums and mastering whatever instruments they could get their hands on. Ask about their childhood dreams and they’ll tell you that they never aspired to do anything but make music together. It shows.

“Brian and Michael are two of the best musicians I’ve ever met,” says Foxygen’s Jonathan Rado, who discovered the duo via Twitter and produced the new album. “As teenagers, they work like studio vets. Brian can play anything you hand him –¬ he played all the strings and horns on the record – and Michael is the most captivating drummer I’ve ever seen. There’s nothing they can’t do.”

Rado proved to be the perfect foil for the wunderkinds, and the resulting album brings together everything from Brian Wilson and David Bowie to Queen and The Association. Their music can soar like a carnival calliope and then swiftly drop down to its knees in the hushed tones of a confessional booth. Their vocals move seamlessly from a cabaret croon to classic la-la-la harmonies. They mine inspiration seemingly from every era of rock, stitching it all together into a baroque-pop quilt of many colors.

It’s an ambitious approach, to say the least, but the album lives up to the hype. ‘Do Hollywood’ opens, appropriately enough, with “I Wanna Prove To You,” which parades out of the gate like a circus arriving into to town. “I wanna prove to you what I can do,” Brian sings as he and his brother proceed to do just that. Bouncing piano and dense harmonies give way to shifting time signatures and mind-bending arrangements. It’s the perfect introduction to The Lemon Twigs, and to ‘Do Hollywood,’ which features the brothers alternating writing credits on each track and liberally swapping instruments, just as they do in their electrifying live performances (they tour with live members Megan Zeankowski on bass and Danny Ayala on keyboards).

Lead single “These Words” builds from a delicate whisper to a rock and roll roar, while “How Lucky Am I?” tugs at the heartstrings, and “As Long As We’re Together” calls to mind the memorable melodies of Big Star and T-Rex. Perhaps no song demonstrates their brotherly democracy better than “Hi+Lo,” the track unfolding in movements like something off of Abbey Road’s Side B medley with Michael singing and playing guitar, drums, and bass, and Brian adding horns and strings to flesh out the orchestral atmosphere.

“We were crafting these songs pretty intricately,” Brian says. “There’s a lot of care in the arrangements. They’re built to get at people who like nice pop songs. But they’re not empty. We put a lot of ourselves into it and the album has a lot of substance.”

It was that substance that caught the attention of the iconic 4AD label and has already earned the band dates with other critical darlings like Foxygen and Car Seat Headrest. With high profile tours and their label debut on the horizon, it’s only a matter of time until the rest of the world discovers Long Island’s next great cultural contribution. Get ready to ‘Do Hollywood.’ It’s time to meet The Lemon Twigs.
Zachary Cale (solo)
Zachary Cale (solo)
Zachary Cale is a NYC based songwriter/musician originally hailing from the small southern town of Enon, Louisiana. His music ranges from lyrically driven balladry over American Primitive inspired guitar playing to Cosmic Country music and cerebral folk rock to darker torch songs with Western themes.

His first album 'Outlander Sessions' was released by New World Of Sound records in 2005. Recorded with a borrowed acoustic guitar on a 4-track cassette machine.

For the past decade Cale has been releasing records through his own imprint All Hands Electric among other small labels. In 2008 Cale's second solo album 'Walking Papers' was released, an album that fuses highly poetic imagery across stark balladry. Marking a huge step forward from his debut, 'Walking Papers' displays Cale's progression from lo-fi acoustic busker to a songwriter of visionary scope. It was recorded by Kevin McMahon (Titus Andronicus, Swans) at Jett Studio, previously known as the historic Bearsville Sound Studio where albums by The Band, Bobby Charles, NRBQ and Muddy Waters were recorded. Upon its release Cale was described by New Jersey's WFMU as a "songwriter's songwriter" with a writing style comparable to the greats like Bob Dylan, Townes Van Zandt, and Leonard Cohen.

Before its release Cale started a rock band called Illuminations. All Hands Electric issued their debut album 'See-Saw' the same year that 'Walking Papers' was released. The straight-ahead power pop inspired rock n roll band showcased a different side of Cale's songwriting. Cale began using electric guitars, adopting a style and delivery that aligns itself to roots inspired rock bands such as Big Star, VU and Crazy Horse.

2011 saw the release of Cale's first critically acclaimed album 'Noise Of Welcome.' Upon its release, PopMatters proclaimed Cale as "the best singer songwriter working today. Period." The album is a perfect blend of Cale's penchant for cosmic American rock styles that he used in his work with Illuminations and the dark mystic balladry of his solo albums. That year Cale toured the U.S. with a full band, and in solo performances across Europe.

'Blue Rider' was released in 2013 to great fan fare. Praised by Pitchfork, Spin, American Songwriter, NY Magazine, and Pop Matters the album features a stripped down acoustic sound implementing country blues tunings adopted from guitar legends Skip James and John Fahey, coupled with Cale's haunting vocal delivery and enigmatic lyrics. With the addition of ethereal synth lines and electric textures over it's acoustic foundation the album exudes an atmosphere that is otherworldly yet traditionally grounded. Upon its release Cale became a member of the NYC based Crystal Stilts, joining the band as their second guitarist as well as supporting them on a cross country US tour.

On stage Cale performs both solo and with a full electric band. In concert his melodically complex guitar playing has been compared to Neil Young and Bert Jansch with nods to pre-war Piedmont and Ragtime players such as Blind Willie McTell and Mississippi John Hurt. In a full band setting Cale has been known to strap on an electric, adopting a style and delivery that flies closer to country-tinged rock songwriters such as Alex Chilton, Ray Davies and Tom Petty. The intensity of his solo sets hold crowds spellbound, while the electric band sets veer into a mild psychedelia that's equally captivating.

Cale has played hundreds of shows traversing both the US and Europe, sharing stages with Sharon Van Etten, Robyn Hitchcock, Neko Case, Six Organs of Admittance, Deer Tick, Ryley Walker, Justin Townes Earle, Jessica Pratt, The Black Swans, War on Drugs, Steve Gunn, Villagers, Hiss Golden Messenger, Foxygen, Wooden Wand, Michael Chapman, William Tyler, Chris Forsyth, Angel Olsen, Dan Melchior, and many others.

'Duskland' is Cale's fifth album under his own name, an album that employs full band arrangements and western motifs to further chronicle Cale's haunted vision of Americana. The album was released August 7th, 2015 via No Quarter.

Zachary Cale resides in New York City.
Methyl Ethel
Methyl Ethel
Methyl Ethel is the uninhibited alt-pop project from Perth musician Jake Webb. The band started in 2013, as an outlet for the reverb soaked home recordings Webb was working on whilst developing his ambient and textural guitar playing in a variety of local outfits. Methyl Ethel has since blossomed into one of the most critically revered and publicly embraced acts coming out of Western Australia in some time.

Built from the ground up in various bedrooms, friends’ studios and quiet caverns over 2013, the exceptional EP diptych Guts and Teeth, which explore themes of anxiety, disillusionment and stasis, were released in quick succession. These intricate tapestries of melody, dripping with lush eccentricity, ascended through the ether and onto the airwaves, with Indie Shuffle, Happy, triple j, FBi Radio, 3RRR and RTRFM amongst others all taking note.

So far, 2015 has seen the band hone their sound, on debut LP Oh Inhuman Spectacle and its accompanying singles Twilight Driving and Rogues (awarded 2015 WAM Pop Song of the Year). Recorded in the same manner as its predecessors, Oh Inhuman Spectacle masterfully blends pop and esotericism to create an undeniable piece of work, which has landed at the top of many mid-year album lists and been championed by supporters new and old.

After a year of relentless touring, sharing stages with the likes of San Cisco, Holy Holy, Sunbeam Sound Machine and Courtney Barnett, Methyl Ethel are now a headliner in their own right. With their hometown album launch hitting capacity in a matter of minutes, and their Melbourne date selling out weeks in advance, the excitement surrounding the act and their breathtaking live show is palpable. October will see the band take a break from working on the follow up to Oh Human Spectacle to head stateside for CMJ, with a busy Australian summer to follow.
Roger Sellers is a lot of things. He's a minimalist composer with a knack for making hypnotic, enveloping songs from a few repeated musical phrases. He's a gifted musician who is mostly self-taught, having abandoned formal study because it was draining the life from his work. He's a self-described disciple of Phil Collins. What he is not, however -- despite multiple press reports to the contrary -- is a DJ.

"I started developing a decent following in Austin," he says, "but most of the time when I would play, the press would say something like 'Local DJ Roger Sellers,' or 'Roger Sellers is playing a late-night DJ set.' I think it was maybe because my live set involves a table full of gear, a drum set and headphones, but the average person probably knows more about DJing than I do.'" To combat the misunderstanding, Sellers printed up stickers reading, "Roger Sellers is Not a DJ," and eventually adopted the alias Bayonne, changing his name without altering his approach.

Bayonne will release his debut album early next year on Mom+Pop Music, the label home to Flume, Andrew Bird, Courtney Barnett and more. This week Zane Lowe dropped the first track from the record on his show on Apple's Beats 1, with the music tastemaker giving the new song "Spectrolite" his official stamp of approval.

Only last night Bayonne opened for Neon Indian in Dallas and will then head to CA next week for his first set of west coast dates. From there he will head to New York playing CMJ, some of the shows are listed below and the full lineup will be posted shortly. November sees Bayonne back to the west coast opening for Toro Y Moi as part of Red Bull Sound Select's 30 Days in LA festival and then back home to Austin for Fun Fun Fun Festival.

Sellers' journey to Bayonne began when he was two years old, situated in front of Eric Clapton Unplugged at his home in TK. "I'd just watch it over and over again," he laughs. "I would get paint cans and bang on them, trying to imitate what I saw in the video. My parents got me a drum set when I was 6 years old and I became obsessed. I wanted to be Phil Collins for so many years as a child. He was my hero. I feel like you can hear that a lot in my music, that big drum sound, because so much of the way I play was learned from Phil Collins." Though Sellers studied classical piano as a child and music theory in college, rather than developing his skill, he found both to be deadening. "It became homework," he says. "It made me come home and not want to write. That's not at all how I'd thought about music -- it had always been something fun -- almost like a kind of therapy. It was an escape, not a chore."
Nico Yaryan
Nico Yaryan
How far would you go to be with the one you love? And what would be enough to tear you apart?
These are the questions that led Nico Yaryan down the long, arduous, but beautiful road that would ultimately lead to his debut album, What a Tease. Rife with both celebrations of and elegies for his star-crossed romance, Tease introduces Yaryan as a new voice, one that has arrived only to deliver an uncomplicated tale of complicated transcontinental love.
Before all of this, Yaryan began as the son of Northern California hippies, a creative kid who cut his musical teeth on drums and midi samplers, digging through dollar-record bins and dreaming of producing hip-hop beats worthy of his idols, like J Dilla and DJ Premier. He would pass a few cavalier years of adolescence and early adulthood (as he tells it) “sort of sidetracked, working retail jobs, and skateboarding, and riding bikes, and drinking, and being a kid.” But that changed the day Hanni El Khatib, a close friend from high school, came looking for a tour drummer.
“I didn’t have a drum set, and I wasn’t playing actively at all,” the 32-year-old remembers on a sunny afternoon, at a park not far from his now-home in Los Angeles. “But I was really stoked on what he was doing, and I was looking for the next thing. I always wanted to do music, I just didn’t know what anymore. The lane I had been in…I didn’t feel connected to it.”
So he put his things in storage and set off, traveling the world with El Khatib and his bandmates for close to two years, not knowing that the experience would bring into his world two of his greatest loves. The first was the guitar, an instrument he’d been too intimidated to learn as a teenager but now could practice, eventually beginning to record his own music until, at last, he outgrew the touring gig.
“After a while, it wasn’t really doing much for me,” he says. “I wasn’t creating, I wasn’t contributing. It was always Hanni’s thing, which is great — it was a good job! — but it wasn’t mine.”
The second, of course, was an unlikely romance that would change everything. A student from Amsterdam, she and Yaryan met through mutual friends as Yaryan toured through the Dutch city; they stayed in touch in the months that followed, and when he finally parted ways with the band, he decided to take a chance from which most would shy away: he returned to Amsterdam, and stayed for a month — at first.
“We fell in love,” he says. “We were like, this seems really good, and I didn’t want to leave, but I had to leave. So I went home.”
But not for long — back in Los Angeles, Yaryan immediately looked for work to fund a return to Amsterdam, but his experience had only been in retail, an industry that doesn’t take kindly to inconsistent schedules. He needed money that would bring him back.
“So I got a job at a pot farm.”
With a handful of coworkers, Yaryan spent the better part of the next year, on and off, camping alone and trimming at a grow operation in Humboldt County, where marijuana farms are as plentiful as Sonoma’s wineries.
“I would do it for one month, and then I’d go back to Amsterdam for another month,” he explains. “Then I’d come back and I’d do it again; then I went back to her again.“
The work was simple enough, but during those month-long stretches out in the woods, each solely funding the next plane ticket, and then the next, Yaryan was isolated, without any communication with the outside world and longing for a woman thousands of miles away. It was ideal work for someone whose heart already lies just out of reach.
Meanwhile, as their relationship unfolded in the face of geographical (and financial) adversity, so did – in between weed-clipping shifts, in a new home in Los Angeles, on overseas flights – the songs that would become What a Tease. Opening with the tattered allegory of “Old Gloria” and the lonely masochism of “You Belong to Me,” the record lets more than a little darkness surface: the agony of watching yourself fuck up a good thing became “Just Tell Me”; the shifting nature of success informed “Dreamers”; mistrusting the nature of his love led Nico to “Witch Love.” But throughout, there’s an undercurrent of perseverance and determined tenderness, songs like the cavernous “Infinity” and, perhaps especially, album-closers “Your Love Never Lets Me Down” and “I’ll Stay With You When You Die.”
Though the hills and valleys of their often-long-distance romance might have brought endless complications, however, Yaryan is quick to reassure: Tease’s songs themselves are anything but byzantine.
“What’s that saying? ‘Don’t use a five-dollar word when a fifty-cent word will do’?” he says, recalling Mark Twain’s classic salute to literary economy. “It’s more interesting to me to work with heavy ideas or concepts that can mean a lot of different things, but try to make them as simple and memorable as possible.”
So what happened next? you ask. Did they make it work? The more important question, perhaps, is whether you, too, would have the guts to try.
The duo of Ben Fletcher and Tom Higham, who introduced themselves back in 2014 with their inimitable and beautiful cinematic sound – have spent the last 2 years going from strength to strength. A handful of widely acclaimed EP’s have seen them garner an impressive and dedicated following both with fans, and also in the Film and TV world. The past couple of years have seen their EP’s rack up over 50 million streams on Spotify and a range of their songs included in TV ads, film trailers and major TV shows including Vampire Diaries, Greys Anatomy, Pretty Little Liars and more.
Silhouettes is the culmination of this journey; a collection of emotive and intimate songs that depict the life experiences they’ve gathered along the way. The heart-wrenching lyrics and stirring vocals of both Tom and Ben complement each other perfectly throughout the record, aurally wrapping you up in perfect fireside warmth.
Having produced the majority of their own material along the way, when it came to the album they were honored to also work alongside the brilliant SOHN as well as spending some time in the equally inspiring landscape of Iceland with renowned producer Ólafur Arnalds.
Mild High Club
Mild High Club
Following on the underground buzz generated off 2015’s debut LP Timeline, Mild High Club returned in 2016 with their latest effort, Skiptracing (Stones Throw), a thematic, psychedelic jazz-pop odyssey whose story arc follows a private investigator attempting to trace the steps of the sound and the spirit of American music.

Originally hailing from Chicago, Alexander Brettin, who writes and records under the moniker Mild High Club, relocated to Los Angeles in 2012, where his demos caught the ears of prominent local musicians and labels. After signing with Stones Throw Records, Mild High Club released their debut LP in September 2015, which Pitchfork described as “a record full of psychedelic soft rock that draws strongly from White-album era Beatles and T-Rex, with swirls of '80s-indebted synthpop.”

The band quickly became a preferred supporting act on the road, touring with King Gizzard & the Lizard Wizard, Allah-las, Quilt, Youth Lagoon, Wire, and appearing at festivals across the globe, their live act described as “hypnotizing and ethereal”.

The release of 2016’s Skiptracing was a major step forward for the band, which Aquarium Drunkard described as a “cool, grooving blend of lo-fi psych, lounge, and exotica” and was followed by sold out club tours across North America and Europe, as well as festivals in South America and Australia, and continue to tour regularly.
Ben Abraham
Ben Abraham
Ben Abraham is a singer-songwriter based in Melbourne, Australia.

Ben's honest songwriting and disarming stage presence have seen him grow in the last two years from a well-kept hometown secret into an independent artist with a passionate international following.

His distinctive soulful voice and developing reputation as a songwriter have led to recent collaborations with artists including Gotye and Sara Bareilles, and he was recently hand-picked by Emmylou Harris to support her on a national tour of Australia.
Fraser A Gorman
Fraser A Gorman
“I got no soul, coz Country Music sounds to me like Rock N Roll” – Fraser A.

Fraser A. Gorman. A 23 year old kid who looks like a teenage Bob Dylan, a
full time carpenter obsessed with the history of rock n’ roll, expressing himself
through wry poetry, bent tropicalia, country-soul and rock.

After playing a flawless series of shows at SXSW 2015 and tearing apart an
opening slot for best mate Courtney Barnett and Bully throughout sold-out UK
tours in March and April, he’s now NME approved, hotly tipped by BBC’s
Radio 6 and Radio 1 and signed to an international label deal with Marathon
Artists (Jagwar Ma, Courtney Barnett, Childhood).

Add to that the fact he’s an active part of the small but amazing DIY collective
Milk! Records (run by Barnett and Jen Cloher) and the endorsements of
his skill as a writer and musician are ringing loud all over the world. Now,
Fraser Alexander Gorman’s collection of cool-as-fuck, funny, heartfelt and
super-infectious tunes has come to fruition on his debut album titled ‘Slow

His live shows have grown in a short time from intimate to majestic. Fraser’s
built an enviable support-slot CV over the past year featuring such diverse
yet prestigious names as Damon Albarn, Wanda Jackson, Guy Clark Jr,
Justin Townes Earle, CW Stoneking, and his buddies You Am I.
Whitney make casually melancholic music that combines the wounded drawl of Townes Van Zandt, the rambunctious energy of Jim Ford, the stoned affability of Bobby Charles, the American otherworldliness of The Band, and the slack groove of early Pavement. Their debut, Light Upon the Lake, is due in June on Secretly Canadian, and it marks the culmination of a short, but incredibly intense, creative period for the band. To say that Whitney is more than the sum of its parts would be a criminal understatement. Formed from the core of guitarist Max Kakacek and singing drummer Julien Ehrlich, the band itself is something bigger, something visionary, something neither of them could have accomplished alone. The band itself is something bigger, something visionary, something neither of them could have accomplished alone.

Ehrlich had been a member of Unknown Mortal Orchestra, but left to play drums for the Smith Westerns, where he met guitarist Kakacek. That group burned brightly but briefly, disbanding in 2014 and leaving its members adrift. Brief solo careers and side-projects abounded, but nothing clicked. Making everything seem all the more fraught: both of them were going through especially painful breakups almost simultaneously, the kind that inspire a million songs, and they emerged emotionally bruised and lonelier than ever.

Whitney was born from a series of laidback early-morning songwriting sessions during one of the harshest winters in Chicago history, after Ehrlich and Kakacek reconnected - first as roommates splitting rent in a small Chicago apartment and later as musical collaborators passing the guitar and the lyrics sheet back and forth. “We approached it as just a fun thing to do. We never wanted to force ourselves to write a song. It just happened very organically. And we were smiling the whole time, even though some of the songs are pretty sad.” The duo wrote frankly about the break-ups they were enduring and the breakdowns they were trying to avoid. Each served as the other’s most brutal critic and most sympathetic confessor, a sounding board for the hard truths that were finding their way into new songs like “No Woman” and “Follow,” a eulogy for Ehrlich’s grandfather.

In exorcising their demons they conjured something else, something much more benign—a third presence, another personality in the music, which they gave the name Whitney. They left it singular to emphasize its isolation and loneliness. Says Kakacek, “We were both writing as this one character, and whenever we were stuck, we’d ask, ‘What would Whitney do in this situation?’ We personified the band name into this person, and that helped a lot. We wrote the record as though one person were playing everything. We purposefully didn’t add a lot of parts and didn’t bother making everything perfect, because the character we had in mind wouldn’t do that.”

In those imperfections lies the music’s humanity. Whilst they demoed and toured the new songs, they became more aware of the perfect imperfections of the songs, and needing to strike the right balance, they eventually made the trek out to California, where they recorded with Foxygen frontman and longtime friend, Jonathan Rado. They slept in tents in Rado’s backyard, ate the same breakfast every morning at the same diner in the remote, desolate and completely un-rock n roll San Fernando Valley, whilst they dreamt of Laurel Canyon, or maybe The Band’s hideout in Malibu, or Neil Young’s ranch in Topanga Canyon.

The analog recording methods, the same as used by their forebearers, allowed them to concentrate on the songs themselves and create moments that would be powerful and unrepeatable. “Tape forces you to get a take down,” says Kakacek. “We didn’t have enough tracks to record ten takes of a guitar part and choose the best one later. Whatever we put down is all we had. That really makes you as a musician focus on the performance.” The sessions were loose, with room for improvisation and new ideas, as the band expanded from that central duo into a dynamic sextet (septet if you count their trusty soundman). And that’s what you hear — Whitney is the sound of that songwriting duo expanding their group and delivering the sound of a band at their freest, their loosest, their giddiest.

Classic and modern at the same time, they revel in concrete details, evocative turns of phrase, and thorny emotions that don’t have exact names. These ten songs on Light Upon the Lake sound like they could have been written at any time in the last fifty years. Ehrlich and Kakacek emerge as imaginative and insightful songwriting partners, impressive in their scope and restraint as they mold classic rock lyricism into new and personal shapes without sound revivalist or retro. “I’m searching for those golden days,” sings Ehrlich, with a subtle ripple of something that sounds like hope, on the track “Golden Days”. It’s a song that defines Whitney as a band. “There’s a lot of true feeling behind these songs,” says Ehrlich. “We wanted them to have a part of our personalities in them. We wanted the songs to have soul.”
Hooton Tennis Club
Hooton Tennis Club
Car Seat Headrest
Car Seat Headrest
Matador Records is thrilled to announce that it has signed Car Seat Headrest and will release Teens of Style on October 30, with Teens of Denial to follow soon after in 2016. This prolific artist (n Will Toledo) comes to Matador having already crafted an 11-album catalog of staggering depth, all self-released on Bandcamp, which has gained him an obsessive following and over 25,000 downloads - all without the muscle of a manager, label, agent, or publicist - until now.

Car Seat Headrest began in 2010 in Will Toledo's hometown of Leesburg, Virginia. Needing a place of solitude (and soundproofing) where he could record vocals undisturbed, a 17-year-old Toledo set up shop in the family car. Toledo's catalogue is sharp, literary, and culturally omnivorous as it touches upon youth and death, love and depression, drunken parties and 2nd century theologians. Ever surprising, his lyrical imagery ranges from playful to sexually frank to sorrowful, often within the same song.

After relocating to the Seattle suburbs in 2014, Toledo assembled a lineup with bassist Ethan Ives and drummer Andrew Katz. Teens of Style is the first Car Seat Headrest album recorded with a full band, and the sound is vibrant and powerful, with a wide stylistic range.

On Teens of Style, Toledo has taken material from the first three years of the band's existence and reworked it to generate some of the most realized arrangements to date. Drawing material from 3 (2010), My Back Is Killing Me Baby (2011), and Monomania (2012), Teens of Style provides a concise overview of the band's many sonic and emotional facets, with the songs ranging from electronic psychedelia to punky anthems to melancholic acoustic numbers.

The longest track on Teens of Style, "Times to Die," is just under seven minutes, applying breakbeat cut-ups and "Low Rider" horns to a groove-driven neo-psych jam with lyrics about Judaism, Hinduism, and the record business. Similarly, "Maud Gone" is a wistful 60s-inspired pop number paying homage to Yeats's unrequited love, while the intricate party track "Los Borrachos" borrows its title from the Diego Velasquez painting.

Car Seat Headrest's conceptual ambition and stunning songwriting has been apparent since its early days of laptop recording, the scale of Toledo's vision going far beyond the constricting "lo-fi" term. Now on his Matador Records debut, Teens of Style, we witness Toledo presenting his intricate ideas with more clarity and refinement than ever, delivering an enthralling collection of songs destined for wide acclaim.
Venue Information:
158 Ludlow Street
New York, NY, 10002