Tag: Car Seat Headrest

2010s IN REVIEW: Coming of Age With Car Seat Headrest

I graduated high school in 2010, which means I have been an adult for the entirety of the decade, according to “society.” I spent six of those months in high school, three and a half of those years in college, four of them working at an office job that I thought I’d never leave, and the past year and a half freelancing and making small amounts of progress toward my creative goals. I spent approximately nine of these months absolutely heartbroken, those same four years in that office vacillating in and out of anxiety. I also started doing improv and quit doing improv, and it took about seven years to figure out that I am not a natural performer.

Will Toledo began Car Seat Headrest in 2010, recording alone in his parents’ car, lest he be heard by anyone. He recorded four albums named for four numbers, two whose album art is a picture of – you guessed it – a car seat headrest, and diligently uploaded them to Bandcamp. He went to college, didn’t get out much. One more album after those four, and one college transfer later, Will Toledo wrote Twin Fantasy, an album about being absolutely heartbroken. Then he signed with Matador, and produced two more albums, had a well-publicized legal issue with The Cars’ Ric Ocasek, and then recorded Twin Fantasy again, and did a whole lot of touring, which is basically a day job.

I think Will Toledo and I are about the same age. Millennials get a lot of crap for their extended adolescence, though it’s the economic collapse of our actual adolescence that eventually made it harder for us to grow up. Well into my twenties, I put my entire trust in the fact that the adults around me knew exactly the right thing to do. In reality, nobody has anything figured out! Nobody! There is no clear answer to anything in life. Time is linear, but life is not always. You can change a lot in a decade.

Of the albums Car Seat Headrest recorded this decade, it is Teens of Denial that speaks generationally. Released in 2016, Teens of Denial was the first fully new Car Seat Headrest album since signing to Matador in 2015. It was also my personal album of the year. Two years out of college and the world had never seemed crueler. Certainly globally so, but also on an individual level. In your darkest hour, everything feels like a personal attack.

Teens of Denial is a straight-up rock album, but it isn’t about sex (well, sort of), it isn’t about drugs (only kind of), and it isn’t about rock and roll (Ric Ocasek almost stopped this album from being released, but Dido didn’t mind being quoted). And with regards to personal attacks, the protagonist of Teens of Denial is accosted by Jesus himself. Jesus calls him “the scum of the earth,” on “(Joe Gets Kicked Out of School for Using) Drugs With Friends (But Says This Isn’t a Problem).”

The internal world of Teens of Denial is vast and complicated, often contradictory. On the dense and percolating “Vincent,” the protagonist laments, “If I’m being honest with myself / I haven’t been honest with myself.” “Vincent” was the lead single, a non-obvious choice, but one that functioned as an introduction to the album’s headspace: over seven minutes long, and obliquely about the protagonist’s mental state (“In the back of a medicine cabinet / you can find your life story / and your future in the side effects”).

Toledo stopped hiding behind vocal distortion on this album. He’s here, voice cracks and all, and ready to shout about how people talk down to him: “You have no right to be depressed! / You haven’t tried hard enough to like it!” The arrangements are huge and full; the production is so much clearer than even his previous Matador release, Teens of Style, which compiled some of Toledo’s best Bandcamp cuts.

If it weren’t evident enough already, Teens of Denial has a wicked sense of humor. The scrapped version of “Not What I Needed” started with The Cars’ “Just What I Needed” riff and ended with the straight-faced first few lines of its lyrics. Like a coming-of-age movie, it’s this levity that counterbalances the album’s big emotional payoffs. “Drunk Drivers/Killer Whales,” starts steady and unassuming, but crescendos to the big declaration of “It doesn’t have to be like this.” And it doesn’t! “It doesn’t have to be like this” can mean a lot of things. In the context of the song, it’s the protagonist making a decision that would keep him from danger. To realize he’s too drunk to drive and so, “get out of the car and start to walk.”

Earlier in the decade, in 2011, Will Toledo released Twin Fantasy under the name Car Seat Headrest. In 2018, he released the same album, re-recorded with a full band, under the name Car Seat Headrest. This isn’t a case where hindsight is 20/20: it’s more that hindsight brings out new dimensions. Matador states the difference thusly: “he no longer sees his own story as a tragedy.”

Yes, you can have second chances. It’s called artistic growth! Look it up! Twin Fantasy (2011) is rough around the edges in that way that evokes desperation, a need to throw your heart at the person who hurt you. It rules; as someone who lives and dies by lo-fi, I was a fan. 2018 Twin Fantasy, now titled Twin Fantasy (Face to Face), sounds clearer, but the lyrics are left emotionally unpolished, teenage in their sentiments. To admit flaw is to admit humanity.

A newfound confidence runs through Twin Fantasy (Face to Face). Car Seat Headrest, the band, shines on every single track. The sprawling “Beach Life-In-Death” benefits greatly from frenetic drumming. Guitars lacerate and bring teenage Toledo’s wobbly infatuation to life. A newly audible bass line caresses the melody of “My Boy.” The band builds gloom on “Famous Prophets” and brings finality on “Twin Fantasy.” Where the old “Bodys” had the detachment of being too cool (or too awkward!) to dance, the new track gradually crescendos, careening like an underage drunk. Suddenly, this story is cinematic. Suddenly, this story has a heartbeat, and muscles, and arms to be held in. It’s the sound of someone feeling less alone than they felt seven years earlier.

Because what’s a coming-of-age story if you haven’t come of age yet? The protagonist of Twin Fantasy (Face to Face) repeatedly sings “The ocean washed open your grave.” This story still hurts. It always will. But he’s made peace with it now. After looped vocal reverb, the spoken word part of the last track alludes to the “fantasy” part of “Twin Fantasy:”

This is the end of the song, and it IS just a song. It’s a version of me and you that can exist outside of everything else, and if it is just a fantasy, then anything can happen from here. The contract is up, the names have been changed. So pour one out, whoever you are. These are only lyrics now.

In my own interpretation, Twin Fantasy is about falling for the idea of a person, rather than an actual person. That distance and circumstance may keep you apart–you may never meet again, but you can always sing his first name aloud, trying to make it fit in with the lyrics of “Ana Ng,”a song about falling for a person living very far away from you. This last spoken word monologue is the album’s movie disclaimer, the “any resemblance to actual persons living or dead is purely coincidental” blah blah blah. These are only lyrics now. The credits roll, the lights come up, and Twin Fantasy is a story in past tense.

Car Seat Headrest, now a full band. Photo by Mikeal Beland.

This December, we’re going to act like ten years isn’t a really long time, but it is. You can change a lot in a decade. I certainly stumbled back onto my own path. I think Will Toledo did too. Car Seat Headrest began the decade a solo act, and ended it a full band, signed to Matador. The Twin Fantasy tour welcomed the band Naked Giants as additions to live Car Seat Headrest, arrangements stretching to create new contexts for old songs. Will Toledo ditched the guitar for most songs, embracing his role as a performer. This year Will Toledo also produced Stef Chura’s fantastic record, Midnight. That’s a world’s difference from recording Twin Fantasy in your bedroom (or your parents’ car).

This isn’t a scenario where someone older than you is telling you exactly what to do about jobs, or heartbreak, or how you’re feeling (“Get a job / eat an apple / it’ll work itself out”). It’s a scenario where someone your own age is saying “hey dude, me too.” It’s so much better to realize we’re all lost sometimes. To quote the song quoted in “Cute Thing:” “And the truth is, we don’t know anything.”

Ten years is a long time. Ten years can hold artistic growth, and periods of despair, and love and stress alike. Not necessarily in that order. Get out of the car and start to walk.

AF 2018 IN REVIEW: Our Favorite Albums and Singles of the Year

Here we are again! As the new year approaches, it’s time to look back and take stock of the albums and singles that defined this moment in music history. 2018 was an eclectic year, to say the least, and there are a lot of new names on the list: Tirzah, Snail Mail, Soccer Mommy, Noname, King Princess, and Kali Uchis all had phenomenal debuts this year, not to mention the inimitable Cardi B, who made good on the promise of last year’s smash hit “Bodak Yellow” with Invasion of Privacy in April. There were established artists who still managed to surprise us, whether in the form of unearthed Prince demos, The Arctic Monkeys’ loungey sci-fi concept album, Tim Hecker introducing us to ancient Japanese court music, Dev Hynes making his most personal Blood Orange record yet, or Lil Wayne finally dropping Tha Carter V. And then there are those artists who fall somewhere in between, their ascendant careers a thrill to watch as 2018 saw them finally hit their stride. US Girls. Yves Tumor. serpentwithfeet. And perhaps most spectacularly, Mitski and Janelle Monáe.

As each of our writers (and editors, too) created their own mini-lists, those were two names that kept cropping up, and there’s no doubt you’ve seen them on just about every year-end list on the interwebs. If there’s any chance you haven’t heard Be The Cowboy or Dirty Computer, by all means, fire up that Spotify Premium post haste. But the recommendations here are as diverse as our writers themselves, so we hope you’ll take time to explore some of the lesser-known, hardly hyped artists we’ve highlighted, too – and keep your eyes peeled for more year-end coverage as we cruise in to 2019.

EDITOR LISTS

  • Marianne White (Executive Director)

    Top 10 Albums:
    1) boygenuis – boygenius
    2) Soccer Mommy – Clean
    3) Nenah Cherry – Broken Politics
    4) Mitski – Be the Cowboy
    5) serpentwithfeet – soil
    6) CupcakKE – Ephorize
    7) Blood Orange – Negro Swan
    8) Autechre – NTS Sessions 1-4
    9) Snail Mail – Lush
    10) Cardi B – Invasion of Privacy
    Top 5 Singles:
    1) Let’s Eat Grandma – “Hot Pink”
    2) Jon Hopkins – “Emerald Rush”
    3) The Internet – “Look What You Started”
    4) Cardi B, Bad Bunny, J Balvin – “I Like It”
    5) boygenius – “Bite The Hand”

  • Lindsey Rhoades (Editor-in-Chief)

    Top 10 Albums:
    1) Low – Double Negative
    2) US Girls – In A Poem Unlimited
    3) Madeline Kenney – Perfect Shapes 
    4) Yves Tumor – Safe In The Hands of Love
    5) DJ Koze – Knock Knock
    6) Caroline Rose – Loner
    7) Tim Hecker – Konoyo
    8) Virginia Wing – Ecstatic Arrow
    9) Frigs – Basic Behaviour
    10) bedbug – i’ll count to heaven in years without seasons
    Top 10 Singles:
    1) Janelle Monáe – “Make Me Feel”
    2) Loma – “Black Willow”
    3) The Breeders – “All Nerve”
    4) SOPHIE – “Is It Cold In The Water?”
    5) Jonathan Wilson – “Loving You”
    6) Empath – “The Eye”
    7) Sibile Attar – “Paloma”
    8) Jono Ma & Dreems – “Can’t Stop My Dreaming (Of You)”
    9) Shopping – “Discover”
    10) Ed Schrader’s Music Beat – “Dunce”

  • Mandy Brownholtz (Social Media)

    Top 5 Albums:
    1) Miserable – Lover Boy/Dog Days
    2) Snail Mail – Lush
    3) Mitski – Be The Cowboy
    4) Teyana Taylor – K.T.S.E.
    5) Janelle Monáe – Dirty Computer
    Top 3 Singles:
    1) Nothing – “Blue Line Baby”
    2) Hinds – “The Club”
    3) Mitski – “Nobody”

  • Lauren Zambri (Events)

    Top 5 Albums:
    1) Amen Dunes – Freedom
    2) US Girls – In A Poem Unlimited
    3) Beach House – 7
    4) Iceage – Beyondless
    5) Tirzah – Devotion
    Top 5 Singles:
    1) Jenny Hval – “Spells”
    2) US Girls – “Velvet 4 Sale”
    3) Yves Tumor – “Licking An Orchid”
    4) Amen Dunes – “Believe”
    5) Low – “Always Trying to Work it Out”

STAFF LISTS

  • Ashley Prillaman (Premieres, AudioMama)

    Top 5 Albums:
    1) Alice Ivy – I’m Dreaming
    2) Sudan Archives – Sink
    3) Marlon Williams – Make Way For Love
    4) Earth Girl Helen Brown – Venus
    5) Rüfüs Du Sol – Solace
    Top 3 Singles:
    1) Rhye – “Taste”
    2) Alice Ivy – “Chasing Stars”
    3) Sudan Archives – “Nont For Sale”

  • Tarra Thiessen (Check the Spreadsheet)

    Top 5 Albums:
    1) DRINKS – Hippo Lite
    2) Shannon & the Clams – Onion
    3) Lost Boy ? – Paranoid Fiction
    4) Prince – Piano & a Microphone 1983 
    5) Sloppy Jane – Willow
    Top 3 Singles:
    1) Public Practice – “Fate/Glory”
    2) The Nude Party – “Chevrolet Van”
    3) Big Bliss – “Surface”

  • Natalie Kirch (Pet Politics)

    Top 10 Releases Out of the Brooklyn DIY Scene (in Chronological Order):
    1) THICK — Would You Rather? (Self-Released)
    2) BODEGA — Endless Scroll (What’s Your Rupture?)
    3) Baked — II (Exploding In Sound)
    4) Pecas — After Dark (Broken Circles)
    5) Big Bliss – At Middle Distance (Exit Stencil Recordings)
    6) Kevin Hairs — Freak In The Streets (GP Stripes)
    7) PILL – Soft Hell (Mexican Summer)
    8) Stove – ‘s Favorite Friend (Exploding In Sound)
    9) Lost Boy ? – Paranoid Fiction (Little Dickman Records/ Rich Moms)
    10) Janet LaBelle – I Only See You (Loantaka Records)

  • Sara Barron (Playing Detroit)

    Top 5 Albums:
    1) Kali Uchis – Isolation
    2) Blood Orange – Negro Swan
    3) Cardi B – Invasion of Privacy
    4) Mitski – Be the Cowboy
    5) Noname – Room 25
    Top 3 Singles:
    1) Ama Lou – “Tried Up”
    2) Britney Stoney – “OD”
    3) Janelle Monáe – “PYNK”

  • Luci Turner (Playing Atlanta)

    Top 5 Albums:
    1) The Arctic Monkeys – Tranquility Base Hotel & Casino
    2) The 1975 – A Brief Inquiry Into Online Relationships
    3) Charles Bradley – Black Velvet
    4) Brandi Carlile – By The Way, I Forgive You
    5) Jack White – Boarding House Reach
    Top 3 Singles:
    1) The Raconteurs – “Now That You’re Gone”
    2) Mac Miller – “2009”
    3) Dead Naked Hippies – “Rare”

  • Victoria Moorwood (Playing Cincy)

    Top 5 Albums:
    1) Cardi B – Invasion of Privacy
    2) Lil Wayne – Tha Carter V
    3) J. Cole – KOD
    4) Preme – Light of Day
    5) Jazz Cartier – Fleurever
    Top 3 Singles:
    1) Lil Wayne feat. Reginae Carter – “Famous”
    2) Cardi B – “Thru Your Phone”
    3) J. Cole – “Brackets”

  • Desdemona Dallas

    Top 5 Albums:
    1) Noname – Room 25
    2) Flatbush Zombies – Vacation In Hell
    3) Mountain Man – Magic Ship
    4) Lucy Dacus – Historian
    5) Nao – Saturn
    Top 3 Singles:
    1)  Janelle Monáe – “Make Me Feel”
    2) Twin Shadow – “Saturdays”
    3) Sudan Archives – “Nont For Sale”

  • Erin Rose O’Brien

    Top 5 Albums:
    1) Mitski — Be The Cowboy
    2) Antarctigo Vespucci — Love in the Time of E-mail
    3) Car Seat Headrest — Twin Fantasy
    4) Soccer Mommy — Clean
    5) Janelle Monáe — Dirty Computer
    Top 3 Singles:
    1) Bad Moves — “Cool Generator”
    2) The Beths — “Future Me Hates Me”
    3) Miya Folick — “Stop Talking”

  • Ysabella Monton

    Top 5 Albums:
    1) Mitski – Be The Cowboy
    2) Janelle Monáe – Dirty Computer
    3) Brockhampton – Iridescence
    4) Soccer Mommy – Clean
    5) Cardi B – Invasion of Privacy
    Top 3 Singles:
    1) King Princess – “1950”
    2) Childish Gambino – “This is America”
    3) Pusha T – “If You Know You Know”

PLAYING SEATTLE: 10 Underground Gems of 2018

Seattle rock outfit Thunderpussy during a typically raucous performance. Photo by Victoria Holt, c 2018.

As much as 2018 was a good year for Seattle’s established music names – shout-out to Brandi Carlile for “By The Way, I Forgive You” and its six (!) Grammy nominations – it’s been surprisingly phenomenal for fresh voices and indie artists on the rise. Bear with me as I get sentimental; here are ten underground gems from Seattle artists in 2018.

Marlowe (L’Orange & Solemn Brigham) – Marlowe

Marlowe is the break-out album from a new duo of Seattle-based beatsmith L’Orange, and North Carolina-based rapper, Solemn Brigham. L’Orange is known for his nostalgia-soaked tracks, looping obscure vintage radio finds like an old-school crate-digger. Over those, Solemn Brigham raps conscious lyrics with that easy-yet-aggressive flow reminiscent of Kendrick’s early mixtape days.

Red Ribbon – Dark Party

Red Ribbon’s Dark Party is aptly named. While melancholic and cynical, the release is unexpectedly upbeat and fun to dance to, achieving a combination of dark and light that is often-attempted by musicians but rarely well-executed. Each song on Dark Party is a new psychedelic, trance-world, accented with new age flute, droning, and reverb-y guitar. Like a spiritual guide, Emma Danner’s soothing, slow-simmering vocals lead the listener through.

ParisAlexa – Bloom

ParisAlexa’s Bloom captures her rise on the Seattle scene. After many appearances at local events over the last few years, ParisAlexa has a sizable and devoted following of fans and critics alike, including the covetable support of KEXP, who recorded her in a live session in April. Bloom is a coming of age portrait, depicting ParisAlexa in a raw, sensual state, claiming her newfound womanhood. And it’s saturated with the echoes of neo-soul artists like Bilal, Erykah Badu, and pop singers like Alicia Keys and Mariah Carey.

Rat Queen – Worthless

Born of the quirky, colorful musings of two best friends, Jeff Tapia and Daniel Derosiers, Rat Queen’s “Worthless” is all about quick and twisted little ditties that pack a juicy pop-punk punch. Tapia’s growling and dominating vocals match Derosiers’ playful energy on drums, turning what could’ve been a just-for-fun party album into something anthemic: the chronicles of twenty-something punks and misfits just getting by in a changing city.

Bad Luck – Four

If noise-jazz could be your thing, brace yourself. Bad Luck, the tenor-drums duo featuring Neil Welch and Chris Icasiano, is an explosive, dynamic organism of sound experimentation. With a mic-ed sax, Welch creates wide swathes of atmospheric sound that converse with Icasiano’s energetic and impressive percussion. Four is (you guessed it) their fourth release since 2009.

Leeni – Lovefool

Leeni, also known as Prom Queen, is a wizard synth-pop producer and singer-songwriter who made national news a few years back for her clever mash up of the themes from ’90s TV show Twin Peaks and Netflix hit Stranger Things. Leeni’s 2018 release, Lovefool, is akin to that mash-up; one moment dark and brooding, the next bright and manic. Creating dreamy mirages of ’80s synth and ethereal singing, Lovefool gets lost in lush, velvety soundscapes.

Steve Tresler and Ingrid Jensen – Invisible Sounds: For Kenny Wheeler

Though largely unknown outside of the area, Seattle has a rich legacy with jazz music and education. Our high school jazz bands consistently win the prestigious Essentially Ellington contest, and we have been home to jazz musicians like Quincy Jones and Ernestine Anderson. Local saxophonist and teacher Steve Tresler teamed up notable Canadian jazz trumpeter Ingrid Jensen to record Invisible Sounds as a tribute to jazz music legend Kenny Wheeler, who passed away quietly in 2014. The album is a spirited, expansive, and gorgeous merging of two of the most powerful Pacific Northwestern voices in jazz.

Chemical Clock – Plastic Reality

Plastic Reality will be the final release from Chemical Clock, a experimental jazz group made up of local avant-garde, jazz, and funk musicians who met during their time in the University of Washington’s music program. Their third album, Plastic Reality, is chock full of manic synth patterns and angular melodies that build into thunderheads of sound. It’s a triumphant culmination of a decade making boundary-pushing music together.

Thunderpussy – Thunderpussy

Thunderpussy’s self-titled full-length is a glam rock firestorm. In some ways, the band picks up where artists like Heart left off, as a self-possessed all-women rock group that oozes sensuality, musicianship, and sheer power on their own terms. They put on a hell of a live show, too.

Car Seat Headrest – Twin Fantasy

The brainchild of Will Toledo, Car Seat Headrest is probably the biggest artist on this list. 2018’s Twin Fantasy is a completely re-recorded version of an album he put out in 2011 and follows 2016’s Teens of Denial, which was named one of Rolling Stone’s 50 best albums of 2016. Twin Fantasy doesn’t disappoint either; Toledo has maintained the self-deprecating awkwardness that makes him so relatable and revelational as a indie rock singer-songwriter.

PLAYING DETROIT: Stef Chura Celebrates Record Store Day with Limited Edition 7″

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photo by Ashley Schulz

This Saturday, April 21st is Record Store Day, a day that brings us back to a time when the only way you could hear your favorite artist’s new song was by purchasing it on seven inches of vinyl from your local record shop. That’s exactly how Detroit indie-rocker, Stef Chura, wants us to celebrate the annual homage to vinyl culture. Chura, who released her striking debut album Messes in 2017, is pressing a thousand copies of a new 7″ that includes two songs that didn’t make it onto the LP. Both of the songs – “Degrees” and “Sour Honey” – were produced by Will Toledo of Car Seat Headrest and show Chura’s range in emotion, voice, and musicianship.

“Degrees” is a weighty, haunting rumination on mortality that shifts between delicate verses and a blazing refrain. Chura says that the song was originally a plucky folk song, but Toledo had the idea to take it in a Janis Joplin “Ball and Chain” direction, adding gritty layers of guitar that conjure up the image of towering flames.

Falling on the opposite end of the spectrum sonically, “Sour Honey” is a stripped-down solo affair that features Chura’s flickering, elastic vocals accompanied by Toledo on piano. The bare, vulnerable sound is an appropriate match for the song’s subject matter – insecurity and hyper self-awareness.  “I wrote that song when I was working at a strip club in Detroit as a cocktail server,” says Chura. “It was about the visceral, super physical feeling of complete embarrassment and humiliation. I think I used to suffer from a lot of social anxiety and miscommunications, and it was just a very cat-fighty atmosphere.”

The 7″ is a Record Store Day exclusive, which means you’ll only be able to pick it up at your local record store. Chura will perform at Detroit’s Third Man Records in tandem with the release, followed by shows in Cincinnati and Bloomington. Listen to “Degrees” and see Stef Chura’s upcoming tour dates below.

TOUR DATES:
Saturday, April 21st @ Third Man Records Cass Corridor – Detroit, MI
Wednesday, April 25th @ MOTR Pub – Cincinnati, OH
Thursday, April 26th @ The Bishop – Bloomington, IN

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VIDEO OF THE WEEK: Car Seat Headrest “Vincent”

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The video description for Car Seat Headrest‘s “Vincent” is simply: “Will plays the guitar while a guy has a bad time.” That’s about as concise as anyone could get, but the song is layered with a lot more meaning, imagery and emotion. It looks like Will Toledo, the creator and frontman of Car Seat Headrest, has given detailed explanations of the song’s lyrics online, but in the context of the official video, the words tell a story about how and why one drink can turn into way too many.

Scenes switch between a house party where Toledo performs and the apartment of “Vincent”‘s main character, a guy who looks like he’s been working in an office all day. It’s not clear if the party is something he’s trying to relive, or just in his own head. As the song begins with long, deliberate strums of distorted guitar, he pours himself a drink in his empty house. He looks sad when he’s sober, and Toledo repeats, “Half the time, I want to go home.” Then the booze kicks in, and so does the music: There’s the long, drawn-out static of guitar feedback, restless drums, and the sadly serious vocals of Toledo immersed in it all. Horns swirl around his voice when he chants, “It must be hard to speak in a foreign language/Intoxicado, intoxicado.” The band knows how to pull back and surge ahead at the right moments, and does so frequently, never settling until “Vincent” is over. It’s chaotic and messy, and embodies the video’s character as he loses restraint and gets completely wasted. At one point he unpacks a suitcase that’s filled only with liquor, a clear metaphor about replacing emotional baggage with booze.

Though the video is pretty dark, there are moments of subtle humor, like when the main character drunkenly cuddles a cat or when Toledo refers to playing a guitar as “holding a noise machine.” The video ends with the guy stripping down to his underwear and staggering to Toledo’s microphone as the crowd looks on, disgusted. If this last scene accompanied a different song, it might have comedic potential. But, instead of relieving the tension by making it a laughable moment, “Vincent” reaches for something that’s uncomfortable, but better.

Drink responsibly, kids.