Happy Saturday, everyone!
Those of you who’ve been following this blog for a while know how much I love Car Seat Headrest. Ever since…oh, maybe 7th grade (?), their songs have never failed to enchant me and pull me in. So naturally, I was absolutely over-the-moon when I found out that they were releasing a new album in the form of Making a Door Less Open. After a few listens, however, I’m not quite disappointed, but I think I set my expectations too high. That isn’t to say that it isn’t a decent album, but I think they released all the good singles first.
Anyway, let’s get on with the review, shall we?
TRACK 1: “Weightlifters”–8.5/10
Now that is what I can an AMAZING start to an album. With the slow-burn effects, combined with Will Toledo’s signature, introspective lyrics, this is an absolute stunner of a first track. Probably my favorite of the songs that weren’t released as singles beforehand.
TRACK 2: “Can’t Cool Me Down”–10/10
This was the first single that was released, back in…March, I believe. A vastly new direction for Car Seat Headrest, but one that I enjoy thoroughly. Well-written and eternally catchy. Definitely the highlight of the album for me.
TRACK 3: “Deadlines (Hostile)”–8/10
This feels like something straight off of Teens of Denial, and if we’re talking about that album, it’s always a compliment. Lyrically poignant and musically pleasing, this one 100% contributes to the album’s strong start.
TRACK 4: “Hollywood”–8.5/10
Here we veer into a briefly punchy and screamy direction for CSH, and it’s in no way a bad thing. I’m interested to see that Andrew Katz (drummer & producer of this album, correct me if I’m wrong on the latter) is starting to contribute vocals, and though I didn’t care for it as much at first, but it meshes well with the overall feel with the song
IT’S KINDA GROOVY
TRACK 5: “Hymn (Remix)”–5/10
Eh…this is where the album starts to go downhill for me. It’s like they were trying to go more in the synthy direction of “Can’t Cool Me Down,” but it…didn’t work. Not much in the lyrics department, and a wholly unnecessary slathering of autotune and weirdness that ultimately sullies Will Toledo’s gorgeous voice.
God, I know I sound snooty, but personally, this is the worst song on the album…
TRACK 6: “Martin”–8.5/10
(First off, thank you to Will Toledo/Trait for retaining clean habits during these uncertain times…)
Such a sweet love song, with Toledo’s signature, beautiful lyrics. Catchy and unusually bright, considering most of the subject matter of…a good 75% of the rest of their discography.
TRACK 7: “Deadlines (Thoughtful)”–7.5/10
I feel like this is the weaker of the two “Deadlines,” but that’s not to say that I don’t like it. Though some of the effects don’t bug me, the a capella ending (starting at about 5:37) really manages to tug at my heartstrings.
TRACK 8: “What’s With You Lately”–7.5/10
sweet just as depressing as you’d expect any CSH song to be. A tender meditation on creativity and seeing other people imitate your work. Also, we haven’t really heard Ethan Ives (guitar) contribute any other vocals other than backing vocals, so it’s cool to see him doing lead vocals on a song.
TRACK 9: “Life Worth Missing”–7/10
Certainly a decent song, and wonderful lyrically, but musically, it’s bordering on…spineless? With a song like this, it kind of needs punchy guitars throughout, and it almost gets there in the second half, but not quite enough to be potent.
TRACK 10: “There Must Be More Than Blood”–8.5/10
Another strong point on the album, this feels reminiscent of some of their older, longer songs, especially ones like “Famous Prophets (Stars)” and “Cosmic Hero”. Potent and tender, this one’s definitely one of the more memorable songs off of this album.
TRACK 11: “Famous”–6/10
Afer such a beautiful song as “There Must Be More Than Blood,” “Famous” feels like a letdown of an album closing. If not for the effects layered on the vocals, I probably would have liked it a lot better–the lyrics are incredible, but they almost get lost in all the discordant autotune layered over them. Eh.
I averaged out all of the song ratings, and it narrowed down to about a 7.7/10. I’d say that’s accurate–it’s certainly not a bad album, but it’s not nearly as mind-blowingly good as Teens of Denial or Twin Fantasy (Face to Face). There’s certainly a multitude of strong points (“Can’t Cool Me Down,” etc.), but the more mediocre tracks only serve to weight it down. A daring exploration into a new kind of sound for Car Seat Headrest, but one that had its highs and lows.
Since this post was an album review, you can…pretty much just consider the whole album for “Today’s song”.
That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!