The first step of liking the Chiliwave movement of 2010 identifier, Chazwick Bundick, is to be able to confidently pronounce his stage name, Toro Y Moi. The Filipino / African American descendant uses the Spanish phrase “the bull and” with the French word “me” to create the unpronounceable title (Toh-roh E Mwah).
His stage name is as elaborate as his music. A composite of electronic tempos, soulful rhapsodies and penetrating lyrics, delicate reverberation, whimsical instrumentals and distinct new wave feeling of synths and distortion.
Consider where the New Wave movement first started and you will realize you couldn’t put an exact date or place. Unlike other genres in the past, New Wave and the Chillwave movement are defined by their sounds and use of varying utensils rather than a definable place or person. Like the names imply, “progressive” house or New Wave “movement” the genres are defined by their constant travel into auditory exportation. However, Toro Y Moi is a forefather for this curious genre. My Touch (2009) is best known full track demo focusing on lounge jazz-like tempo synthesized harmonies and experimental sound blending.
His debut full album Causers Of This (2010) was released in the winter before the summer of what was to be called the Chillwave movement. Experimental synths, majestic sounds and sonnets comprise the main guts to the album with an eerie dabble in futuristic explorations.
The most recent album Underneath The Pine (2011) stays true to the Chillwave genre in that it is un-placeable and collectively unique. You can identify the individual sounds but cannot define the music as a compilation. There is less focus on the use of altering natural sounds and more use of layering sounds to create a convoluted arrangement.
Taking the stage at Wrongbar in Toronto, Toro Y Moi and his 3 band mates, played for the Queen West crowd under a canopy of star-like lights to create a parallel between vision and sound. The crowd was attentive and buoyant while being serenaded with the dulcet sounds of keyboards, percussion, and mixers. The concert seemed to start early and end too soon, but still captivated the audience with busy yet subtle music keeping bodies transfixed in a pullulating surging dance.
The first step of liking the Chiliwave movement of 2010 identifier, Chazwick Bundick, is to be able to confidently pronounce his stage name, Toro Y Moi. The Filipino / African American descendant uses the Spanish phrase "the bull and" with the French word "me" to create the unpronounceable title (Toh-roh E Mwah).
His stage name is as elaborate as his music. A composite of electronic tempos, soulful rhapsodies and penetrating lyrics, delicate reverberation, whimsical instrumentals and distinct new wave feeling of synths and distortion.
Consider where the New Wave movement first started and you will realize you couldn't put an exact date or place. Unlike other genres in the past, New Wave and the Chillwave movement are defined by their sounds and use of varying utensils rather than a definable place or person. Like the names imply, "progressive" house or New Wave "movement" the genres are defined by their constant travel into auditory exportation. However, Toro Y Moi is a forefather for this curious genre. My Touch (2009) is best known full track demo focusing on lounge jazz-like tempo synthesized harmonies and experimental sound blending.
His debut full album Causers Of This (2010) was released in the winter before the summer of what was to be called the Chillwave movement. Experimental synths, majestic sounds and sonnets comprise the main guts to the album with an eerie dabble in futuristic explorations.
The most recent album Underneath The Pine (2011) stays true to the Chillwave genre in that it is un-placeable and collectively unique. You can identify the individual sounds but cannot define the music as a compilation. There is less focus on the use of altering natural sounds and more use of layering sounds to create a convoluted arrangement.
Taking the stage at Wrongbar in Toronto, Toro Y Moi and his 3 band mates, played for the Queen West crowd under a canopy of star-like lights to create a parallel between vision and sound. The crowd was attentive and buoyant while being serenaded with the dulcet sounds of keyboards, percussion, and mixers. The concert seemed to start early and end too soon, but still captivated the audience with busy yet subtle music keeping bodies transfixed in a pullulating surging dance.
