Chazwick Bundick’s name fits his look. His appearance and lifestyle embody almost every stereotype of the, dare I say, stereotypical American hipster. Bundick is usually pictured with thick-rimmed glasses while sporting a lackadaisical look in his eyes. It all screams arrogance. But the man behind the moniker, Toro y Moi, single-handedly brought the chillwave genre to relevance. Perhaps his image is justifiable.
Chillwave—a term popularized among critics—serves as a large umbrella-term under which new synth-pop acts have taken temporary shelter. Bands such as Washed Out and Com Truise layer heavy synthesized melodies and electronic drum patterns over hazy lyrics, with the intention of creating walls of sound. As newer artists have finally utilized the genre’s final ounces of creativity, Toro y Moi can now rest easy as Anything in Return, his third full-length LP, completely severs any ties to chillwave.
Bundick describes his latest album as a piece of “sincere pop.” While it only vaguely matches anything labeled as pop in the modern sense of the word, Anything in Return’s brilliance lies in its way of being able to fully breathe in the context of the pop genre. Bundick plunged headfirst into the primordial soup of keyboard-infused cosmic bliss. In the album’s 52 minutes, one is distantly reminded of those who pioneered this sound long ago. It’s the grittier twin of Duran Duran’s Rio with lyrical elements one might imagine Brian Wilson softly crooning during the Smile sessions. Toro y Moi’s experiment brandishes a thrilling take on electronic dance music that propels him along a path that notably differs from his competition.
Anything in Return is truly special because of its new elements one might not imagine working in such a context. Overdubbed drum beats and distorted vocal samples make some tracks feel as though they were somehow touched by Burial’s magical hand. Surprisingly, Bundick makes his strange concoction seem normal, as his now distinct voice rises over the heavy sounds.
“So Many Details,” the record’s third and arguably best track, accurately portrays Bundick’s high degree of innovation. A glitzy synthesizer melody playfully dances around in the background while juxtaposed with rattling bongos and a heavy bass undertone. Using these elements together in one song screams contradiction; yet, you bob your head and do a tiny shoulder shuffle while sitting in your chair. Bundick truly knows how to transform low-pitched sounds into undeniable catchiness.
And this is only the tip of the iceberg left in chillwave’s wake. With every transition, one is constantly surprised at the sounds emanating from their respective headphones. The synthesizers on “Rose Quartz” build on one another to a seemingly endless point until the song abruptly finishes with the final crackle of the synthesizer’s decay. “Cola” matches out of tune vocal melodies with two-step drumming as Bundick explores the complications resulting from a long-distance relationship. He takes this one step further with “Cake,” examining his current relationship, while its melodies perfectly compliment the song’s euphoric nature. The expertly placed usage of auto-tune allows for an intense cathartic moment as Bundick whispers “I don’t wanna waste your time.”
Originally a native of South Carolina, Bundick headed to California in early 2012 to resume production of Anything in Return. In many ways, Bundick’s pilgrimage to the West Coast symbolizes this album’s intentions. As previously stated, the discussion of Toro y Moi’s new sound can no longer include the word “chillwave.” Anything in Return is a breath of fresh air as its invigorating nature becomes ever more apparent with each listen. Bundick’s quest is now slightly different than when he set off to challenge conventions with chillwave. His next major task? Creating something even more brilliant than this.
Grade: A/B
