Toledo today debuted their video for new song “Sunday Funday”. “‘Sunday Funday’ deals with navigating familial alcoholism in a new relationship. Rather than let the weight of the subject matter carry the mood, we focused on the more positive aspects of being a willing support system for someone new in your life,” explains the band, aka the Brooklyn-based duo of Daniel Alvarez and Jordan Dunn-Pilz. “We tried to carry over that dichotomy in our (very) homemade music video. Cute puppet; heavy subject matter. We had a blast making it, but I think we also learned some valuable lessons.” “Sunday Funday” will arrive at DSPs tomorrow, February 9th, and follows last month’s introspective and mellow single “Dog Has Its Day,” which was recently added to rotation at SiriusXM’s The Loft in addition to Spotify playlists including Fresh Finds, Infinite Indie Folk, and Fresh Folk, among others. Both songs—as well as additional pre-release singles “It’s Alive!” and “Challenger”—are off Toledo’s forthcoming new EP Jockeys of Love, mixed and co-produced by Jorge Elbrecht (Wild Nothing, No Joy, Frankie Rose) and out this Friday, February 12th, 2021 via Telefono.
For Dunn-Pilz and Alvarez, Toledo isn’t just their band, it’s a way to blend their minds together and become one. “Individually, we’re a mess,” says Alvarez. “But as a pair, our strongest qualities reveal themselves.” Lifelong friends since childhood, Alvarez is the wildcard and Dunn-Pilz, the sensible one. On Jockeys of Love, the duo have mind-melded yet again to create a soundtrack for those long drives when the entire world seems to be in harmony with you, and your thoughts seem monumental because of it. The EP strikes a perfect balance of light and dark; its lyrics cover heavier matters like relationship issues, anxiety, depression, and alcoholism, while the music retains a sense of better days just around the corner. You can hear almost the entire emotional spectrum spread across these six songs, but its prevailing emotion is hope.
As soon as the pandemic hit New York, Dunn-Pilz and Alvarez decided to go home to Newburyport, MA, and took almost all their studio equipment with them. Alvarez had just begun a new relationship, while Dunn-Pilz was escaping the ever-present memories of a recently-ended five-year relationship. One full of new love, and the other sapped of old love, they began writing and recording in Alvarez’s parents’ attic. The pair felt as though they were reliving adolescence, as many mid-twenty-somethings did when they went home to quarantine with their parents. The attic felt disconnected from the rest of the world: their own little universe that seemed to exist outside space and time, a portal back to a simpler age when Alvarez and Dunn-Pilz made music, just for the hell of it, above the sleeping family downstairs. Elbrecht, originally brought in to only mix Jockeys of Love, ultimately served as a co-producer from his remote studio and lends the recordings a rich, polished depth.