Car Seat Headrest's 2011 album, Twin Fantasy (now to be re-labelled Twin Fantasy (Mirror to Mirror)), was already a prominent record in its own right. A charmingly low-fi mess of harsh toned instrumentation and ambitious song structures; it’s lyrics are barely audible, laden with metaphors and raw emotion. A DIY ode to youth, the chaos of young love and the confusion of sexuality, it’s a record quite unmatched in just how disorganised and ambitious; personal and pained it is.

Toledo’s decision to rework his seminal pre-label release lies in his determination to complete a record he never saw fully realised. The new release of Twin Fantasy never panders to the original. Nor does it feel like Toledo is forced to adhere to the limitations of his previous work. It’s a development, not a remake; the full realisation of what was always supposed to be - and it sounds all the more incredible for it.

On Twin Fantasy Will Toledo is an idol, a man proud of his youth and all the confusion that came with it. The reworked album sets a precedent for Toledo’s confidence as a musician, but also in the essential components that define him. As an assertive affirmation of love, sexuality and relationships, it couldn’t be further away from its uncertain, abashed and chaotic predecessor.

Twin Fantasy is no mere re-release but comparing this new release to the original is inescapable. However, in almost every way they are very separate albums. Out are the skits of galvanism, in are the self-examinations and pondering of the nature of evil. Gone are the lyrics masked by loud instrumentation, replaced instead by Toledo baring all with a consistently proclamatory delivery.

‘Beach Life-In-Death’ was the titanic, anthemic bare-all of Mirror to Mirror – but now it’s cleaner and more clearly phased. Over its thirteen minutes it transitions between various hooks and intensities while retaining that raw, honest emotion. As Twin Fantasy is an album that feels as momentous as and plays through its story like a piece of musical theatre; ‘Beach Life-In-Death’ is that in microcosm.

Studio production doesn’t just redefine Twin Fantasy but gives the listener a whole lot more to delve into. Whether it’s the sparking piano under the bridge of ‘Cute Thing’, the newfound glam of ‘Nervous Young Inhumans’ or Toledo’s experimentation with his muting and amps on ‘Sober to Death’; one gets the impression that these songs revel in their newfound depth.

This record is notably almost ten minutes longer than its original, with much of this coming in the expansion of ‘Famous Prophets (Stars)’ – another expansive, carefully structured track. Toledo is at pains to describe his isolation, ambiguously referencing his lover or God/ Jesus (or both). It’s a long, intensely emotional track, extended by an indulgent piano riff that guides the listener to the depths of Toledo’s depression. The closing track, ‘Twin Fantasy (Those Boys)’, couldn’t seem further from that. A redeeming, epilogue-esque number, it seems the closest this album was ever going to get to a ‘walking off into the sunset’ moment.

Twin Fantasy is therefore a rather unique record. Toledo observes those same tracks of Mirror to Mirror through a new, more mature lens, and the result is impressive. Rarely does a piece of music encompass so much raw emotion with such relatability in such a satisfied way; while retaining ambitious but clear structures and displaying instrumentally depth and complexity.