[ad_1]
Car Seat Headrest’s latest studio offering, The Scholars, is an ambitious journey. The album is packed with diverse styles, tones, and textures, showcasing various emotional modulations and urgency. It’s reminiscent of the grand rock operas of the ’70s. To release an album with such depth in 2025 feels like a bold act of cultural defiance.
Will Toledo, the frontman, producer, and multi-instrumentalist of Car Seat Headrest, has shared how his post-Covid health issues have led him to delve deeper into his thoughts, seeking spiritual rejuvenation.
The Scholars encapsulates Toledo’s vivid imagination as he navigates through the fictional Parnassus University, uncovering characters and stories that propel the music forward. One can easily envision Wes Anderson bringing this fantastical campus adventure to life on screen—perhaps one day he will.
Today, lead guitarist Ethan Ives will dive into the album’s creation process and explain how it distinguishes itself from classic concept albums like Tommy and The Wall et al.
With The Wall feeling rigid and monumental, The Scholars exudes a playful chaos. Ives explains that it all commenced with Toledo uniting the band, sharing his vision for the album’s framework and the characters. The narrative would be crafted post-creation.
“It’s like everyone is jamming, and in a psychedelic haze everyone’s like, ‘Wait! There’s a story here!’” Ives chuckles. “We were focused on what songs sounded good and how we could weave them into the structure.”
It was incredibly enjoyable in a geeky way, treating each song as a puzzle: ‘Would this tone and texture fit this song? Would a Killing Joke sound work here?’
“It wasn’t rigid like The Wall, which has distinct points A, B, and C that must be hit for the narrative to flow. I prefer a concept record that’s not linear or strict—more thematic than simply plot-driven.”
At Toledo’s urging, The Scholars saw Ives assume a greater role in sound design, guiding the album’s guitar work. It was a responsibility he approached earnestly—even if his pursuit of the perfect cocked-wah electric guitar sound nearly drove everyone insane.
“The whole vibe surrounding this album was refreshing because previously, the material would come to me almost entirely conceived,” Ives reflects. “I would interpret the parts and add my own touches, but the approach was more controlled before this album.
“In this case, joining in at an earlier stage of the writing process, when everything was still fluid, allowed me significant freedom and flexibility—especially with the character-focused, short story structure—making each song a distinct sandbox with its exclusive flavor or style.”
Thus, we find an album featuring tracks like Devereaux, with its Elliot Easton-style power chords, Equals, boasting Ronnie Wood and Rod Stewart vibes, and Car Seat Headrest embodying “indie Motörhead” on the delightfully titled The Catastrophe (Good Luck With That, Man).
Every song brings forth new styles. The album tells the story of Parnassus alumni—a testament to the heights reached when musical curiosity is embraced.
The Scholars is both thrilling and overwhelming. So many emotional shifts and sudden melodies catch listeners off guard. Is changing the song’s emotional tone something you’re conscious of?
“Thank you! I truly appreciate that. It’s a significant aspect of guitar playing and arrangement that I contemplate often, so I’m always thrilled when that resonates with listeners. I’m a major guitar aficionado. I keep a mental catalog of various textures and flavors that have caught my attention.
“It was a nerdy joy to craft each song as if it were a puzzle, discerning, ‘Does this tone and texture suit this song? Would a Killing Joke sound be fitting? Should I apply a Dick Dale surf style or an Omar Khorshid flair? How can I adjust gain structures, EQ, and chorus settings to make the guitar sound distinct for each song’s character or emotion?’”
How polished was the album when you arrived at the studio, and how much shifted during the recording?
“We reached a nearly finished stage with several tracks while in the studio, only to realize something wasn’t quite right, prompting us to re-record entirely.
“Trying out different textures could be labor-intensive, especially layering countless overdubs. Each one required consideration of what base mood and sub-texture worked for the song—exhausting but rewarding on a tonal level.”
Where do you draw inspiration for your melodies?
Sometimes I get carried away, but I aim to phrase things in an engaging, melodic way.
“Like many guitarists, my attention span is fleeting. If a part doesn’t captivate me, I change it. If I feel good about a part and then it loses its charm, I’ll tweak it again.
“People often tell me to dial it back because I tend to overdo it, but I strive to craft melodies that intrigue me.
“Or if a part feels too straightforward and diatonic, I might instinctively inject a contrasting counter-scale or unusual melodic color—even if it seems out of place for the song. I just have to express it. I think, ‘At least I exorcised that impulse!’”
You have to give it a shot. Otherwise, you might wonder, “What if?”
“Exactly! What if that was the sound? Right.”
Guitar playing is about evolving through practice.
“I used to struggle with intonation and stability because I was overly aggressive. My brain demanded that direct feedback, driven by my hyperactive style.
“I needed to play parts as hard and fast as possible; otherwise, I’d start losing focus. It’s been a lengthy journey learning to harness those instincts while also moderating them where necessary.”
Have you changed your approach to playing?
“Absolutely. I’ve learned to adopt a lighter touch and be more dynamic. In terms of composing parts, I leverage that fickleness to my advantage, pushing myself to refine them until they truly captivate me.”
That idea of playing aggressively is quite relatable. It seems like a process of learning to trust your equipment.
The audience won’t lose interest if you’re not thrashing on the quietest songs.
“In recent years, I’ve gained insight into gain staging; it’s not only about the output level but also when the amp begins to break up. It’s about setting gain levels according to your comfortable picking dynamics.
“Some musicians I know have a heavy touch, so they adjust their amps to break up at their default intensity. It’s amusing how the physical aspect plays in; settings should feel comfortable to your physical style. Over the years, I’ve conditioned myself to not play every part at maximum intensity—[laughs] audiences won’t be bored if I’m not thrashing during the softer songs.”
Acoustic guitars play a significant role here. You seem to use a lot of acoustics—did you rely on your Wechter?
“Interestingly, I initially planned to use my Wechter for those tracks but ended up incorporating more 12-string guitars than intended. My Wechter was in rough shape after not being set up in years.
“Instead, I opted for my Martin—not a top-of-the-line model but an affordable choice—and I was genuinely pleased with the outcome. I’ve developed a real fondness for 12 strings lately.
“They complement my playing style well, especially since they hold up well under intense strumming.”