Released - 2/2/10
Label - Carpark Records
BLURB - I went to see Neon Indian at Mercury Lounge three months ago and Toro y Moi was opening. We had no idea who he was, so of course we decided it would be better to just come later (after the openers) and get some pre-show drinks in our system. Idiots. The irony in this is that, in constantly looking for that great new band or great new sound, I spend a lot of time going to shows and researching up and coming acts. So it makes perfect sense that the one time I purposely show up late to a show, I miss the artist that may have just released the best album of 2010. 'Causers of This' is a complete amalgamation of the music I've been listening to over the last several months and is filled with relaxing grooves, hazy synths and chopped up samples. It's one of those records that, when you hit play for the first time, you know instantly that it's going to exceed your expectations.
Rating - 10 out of 10
FULL STORY - 'Causers of This' is an album that most people will never hear. But for those of us in the indie and underground world it's a different story. The hype and anticipation for this album has been steadily building to the point where it's impossible not to know who Toro y Moi is. Aside from features on Pitchfork: TV and Brooklyn Vegan, Toro y Moi (real name - Chaz Bundick) even appeared in Kanye West's blog. A pretty big deal for someone that no one really knew of, up until about four months ago. With all of this underground hype and buzz it seems entirely too cliche to jump on the bandwagon and fall in love with Toro y Moi because I'm supposed to. But after listening to this album every day for the last two weeks I can honestly say that it lives up to the hype - and dare I say - exceeds it.
The music itself on 'Causers of This' gently sweeps across numerous genres including hip hop, 80's pop, R&B and glo-fi. If forced, I would have to liken him to an urban version of Panda Bear. The great thing about all of these up and coming DIY solo artists is the fact that they can operate without any true set of guidelines. There's no bass player chiming in with his opinion, or singer that wants to suddenly change the band's feel. Instead, you're left with one man, his musical sensibility and how he chooses to represent his individual talents and ideas. You're getting the music in it's most organic and natural state.
Now usually I'd go through some of the highlights of the album, but with 'Causers of This' I feel that each track bears a similar weight and importance...and my two sense...
The single 'Blessa' opens up the record and provides a hazy introduction to just exactly what Toro y Moi is all about. This slow moving track wanders around several musical themes and seems to be constantly morphing into different shapes. Above anything else, it's extremely conceptual and plays with the idea of what a traditional song should consist of. Occasionally he'll settle down into a decent groove, but for the most part it's a dizzying display of ambient fog and confusion - like getting a head rush when you first wake up in the morning. Everything seems like it's in slow motion and you're not quite sure what's going on.
Cascading out of 'Blessa' is 'Minors,' which serves as a brief wake up call of sorts. Towers of synthesizers and stretched out vocals stand tall over a bed of effects. Bundick seemingly operates amidst a more structured feel, but during the verses he once again wanders through feelings of confusion and indifference. Bending keyboard notes and synth lines casually appear and disappear as fleeting ideas while Toro y Moi successfully attempts to personify apathy and hopelessness (both lyrically and musically) with the song fluttering in tempo and mood.
We're finally met with more of an upbeat groove on 'Imprint After.' This track provides a catchy synth hook that dances around steady snare hits and a smooth bass line. Halfway through the song, 'Imprint After' becomes downright infectious. As soon as you reach the one minute mark, everything locks into place and the song catapults into another stratosphere. Once this laid back jam finally resolves, we get a steady dose of Bundick's vocals over acoustic piano chords. While his voice is certainly less than spectacular, Toro y Moi finds clever ways to disguise and mask his tone. Often times he'll blend the vocals into other background vocals or understate them against his many layers of ambient effects. This is what the good ones do. Bundick recognizes the fact that alone, his vocals aren't good enough - but when fused with his own musical creativity - it's a hurdle that can easily be jumped.
'Lissoms' and 'Fax Shadow' really showcase Bundick's raw talent to mix and match musical themes and motifs. 'Lissoms' is ripe with experimental beats and interpretations. The song is constantly being cut up, mixed and re-mixed, settling into several nice grooves along the way. The way in which the beats and themes are chopped up really reminds me of Flying Lotus. At times it can be a little chaotic, but it's always leading to something. And this is exactly what Toro y Moi does as 'Lissoms' slows down and indiscernibly morphs into 'Fax Shadow.' Before we even realize it, we're surrounded by an entirely different, ambient groove and being pelted with mashed up samples and background vocals.
'Thanks Vision' provides us with what very well could be a radio single. Well...could be. This bright and colorful pop track effortlessly bounces around a simple progression of chords and synthesizers - but don't get too attached. Toro y Moi eventually brands it as his own and delves off into varying degrees of experimentation. While he doesn't stray too far from the original setup, he never does revisit the pop structure that he establishes in the introduction. Instead, the track moves into a light and airy jam casually floating around for the duration of the song.
The Flying Lotus and perhaps even a little Thievery Corporation comparisons surface again on 'Freak Love.' Like the 'Lissoms -> Fax Shadow' suite, 'Freak Love' is a collection of chopped up vocals and augmented drum beats. Occasionally he'll settle into a set groove, but the majority of the track is fragmented ideas and concepts, which brilliantly sway between psychedelic electronica and interpretive R&B.
'Talamak' is likely the first song of the album that sticks to a set idea (keep in mind, we're seven songs deep now). Foggy, futuristic synth leads and a great snare drum are all that is really needed for the bedrock on this track. Here, Toro y Moi also revisits some of the pop tendencies we briefly saw on 'Thanks Vision,' and further elaborates on them with one of the better vocal performances of the record. 'Talamak' ends as it beautifully transitions into the contemporary 80's pop-sounding, 'You Hid.' Blasts of distorted keyboards slowly pulse as a muted R&B guitar riff emerges, creating what could be vaguely be categorized as a ballad. I imagine it's how a song in 1983 would sound if everyone at prom was on acid.
And now it gets good...no, great. It makes sense that 'Causers of This' is bottom heavy. Typically with modern releases, labels will front load the first five tracks of an album with the singles and leave the remainder as monotonous filler. But I think it's safe to say that Toro y Moi, and the album, are atypical. The last three tracks (should you have the bonus track version) are easily three of the best tracks on the album - maybe even three of the best tracks from 2010 so far. Bundick kind of inadvertently sets up 'Causers of This' as a test for his listeners. For those that are open minded and intelligent enough to accept and acknowledge his unique style, creativity and, ultimately, his talent - there is a veritable light at the end of the tunnel for us. I'll go on record, however, and say that even without the latter tracks in the album, it's still one of the best releases of 2010. It's still ingenious and awe inspiring.
With the above being said...'Low Shoulders' is probably the coolest song I've ever heard. Everything about it is hip, trendy, fun and exciting. You can instantly tell from the opening keyboard riff that it's going to be great, as several layered, chunky bass lines begin to surface in the background. There is a brief pause and as we're greeted in unison with keyboard and synth hits, we realize that we need to be dancing. It's at this point that drums kick in and the song takes off. From here on out it's perfection. I'm not lying when I say that I've listened to this song at least ten times a day for the last two weeks. You can check my iTunes play count. 'Low Shoulders' dances between glo-fi and disco in a way that is not only catchy, but infinitely enjoyable. There is nothing but good vibes going on with this track. It also has one of the better keyboard solos you'll ever hear.
Toro y Moi proceeds to throw us back a couple decades on the title track, 'Causers of This.' Here's yet another fun, catchy, upbeat track that is a modern take on what very well could have been a Bobby Brown or New Edition track. While it's not as tightly produced (not that is should be) as it's predecessors, 'Causers of This' is filled with wet bass lines, clean guitar riffs and electronic drums which screams 1980's pop. The modern twist Bundick throws into the mix is the constant cutting, chopping and sampling of his riffs and vocals. I'd say it's like a DJ remixing 'Every Little Step I Take,' but I don't feel that's accurate or gives the song it's just due.
For those of us lucky enough to purchase the bonus track edition, we were given 'Eden' as the last track. Once again we have a very bass heavy, retro pop song filled with chimes and synthesizers. However, once get midway through the track we suddenly move into Daft Punk territory. The song instantly goes from retro to spacey and we're met with that patented Daft Punk 'robot' voice. From here on out the entire pace of the song increases ten fold into that of a trance song at a rave. The track eventually fades into the album's ending and we're shit out of luck.
What's left to say? With Toro y Moi there is some kind of intangible force that not only draws you in and but has you constantly wanting more. His take on music is equal parts intoxicating and addictive. The album has a certain duplicity to it that is fairly groundbreaking. When listening to the album as a whole, it's fairly difficult to ascertain where songs start and stop - almost like it's one continuous project. Even more bizarre, is that you could argue each song sounds like a mini album, in it's own right. The tempos are constantly changing, the instrumentation alters considerably and there seems to be a revolving door of vocal melodies and themes. However you try to decipher it or break it down, 'Causers of This' is no ordinary record - and to avoid any ambiguity, I think it will end up being one of (if not) the best album of 2010.
Tracks
1.) Blessa
2.) Minors
3.) Imprint After
4.) Lissoms
5.) Fax Shadow
6.) Thanks Vision
7.) Freak Love
8.) Talamak
9.) You Hid
10.) Low Shoulders
11.) Causers of This
12.) Eden
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