Toledo always knew he would return to Twin Fantasy. He never did complete the work. Not really. Never could square his grand ambitions against his mechanical limitations. Listen to his first attempt, recorded at nineteen on a cheap laptop, and you'll hear what Brian Eno fondly calls "the sound of failure" - thrilling, extraordinary, and singularly compelling failure. Will's first love, rendered in the vivid teenage viscera of stolen gin, bruised shins, and weird sex, was an event too momentous for the medium assigned to record it.
Even so, even awkward and amateurish, Twin Fantasy is deeply, truly adored. Legions of reverent listeners carve rituals out of it: sobbing over "Famous Prophets," making out to 'Cute Thing', dancing their asses off as 'Bodys' climbs higher, higher. The distortion hardly matters. You can hear him just fine. You can hear everything. And you can feel everything: his hope, his despair, his wild overjoy. He's trusting you - plural you, thousands of you - with the things he can't say out loud. " I pretended I was drunk when I came out to my friends," he sings - and then, caught between truths, backtracks: " I never came out to my friends. We were all on Skype, and I laughed and changed the subject."
You might be imagining an extended diary entry, an angsty transmission from a bygone LiveJournal set to power chords and cranked to eleven. You would be wrong. Twin Fantasy is not a monologue. Twin Fantasy is a conversation. You know, he sings, that I'm mostly singing about you. This is Will's greatest strength as a songwriter: he spins his own story, but he's always telling yours, too. Between nods to local details - Harper's Ferry, The Yellow Wallpaper, the Monopoly board collecting dust in his back seat - he leaves room for the fragile stuff of your own life, your own loves. From the very beginning, alone in his bedroom, in his last weeks of high school, he knew he was writing anthems. Someday, he hoped, you and I might sing these words back to him.
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