In the lead-up to Toro Y Moi’s third album, Anything in Return, Chazwick Bundick (the mastermind behind Toro) frequently stated his new effort would be a “pop” record. If that was his intention, then as a mainstream breakthrough, Return is a failure, lacking the catchy hooks and immediacy to bring Toro Y Moi’s music to the forefront. That being said, Anything in Return is an accomplished bit of craftsmanship, and while a bit overlong, it’s well worth a spin on any fan’s turntable.
Bundick spent nearly twice the amount of time on Anything in Return as he did for his sophomore record, 2011’s Underneath the Pine, and the immediate result of the extra time spent appears to be Bundick honing his skills as a producer. There is a remarkably diverse array of synths, effects and instrumental flourishes that appear throughout this record, and Bundick generally keeps it under control in an eloquent, organized manner. A true sonic architect, Bundick is highly skilled at putting together a myriad of sounds and tracks without making the mix seem too busy.
Consider his approach on fourth track “Rose Quartz.” Beginning with a lone synth line, Bundick displays immense control and dynamic restraint, taking a full two minutes to construct a layer of swirling synths, soft keyboards and steady percussion before beginning the first verse. The effect is utterly marvelous.
Anything in Return is full of well thought-out moments like this, and as lead single “So Many Details” may suggest, much of the delight of this record truly lies in the details. When Bundick’s sonic architecture lines up with talented songwriting, the results are tremendous. The cosmopolitan piano and subtly bouncy percussion of the opener, “Harm in Change,” combines with a truly captivating build and a catchy vocal line to make one of the most enjoyable openers in recent memory. Track two, “Say That,” juxtaposes a sultry, driving synth bass line with some soulful vocal samples to create an almost Cut Copy-esque dance track, and a prime contender for a second single. In fact, much of the record’s first end is fantastic.
It’s as the record moves into its middle section that it starts to drag a bit. The three-track tedium of “Touch,” “Cola” and “Studies” is universally underwhelming, and although Anything in Return’s later section is redeeming, the drag of the middle makes the record feel a bit overlong. At 52 minutes, Return is nearly 20 minutes longer than Bundick’s prior two records, and one gets the sense that he could have cut a bit of the fat around the midsection to create a more concise effort.
This doesn’t diminish the songwriting of the record’s back end—it just means you have to wait a bit longer to get there. “High Living,” a drug-infused slow-burner features the album’s best chorus, and an utterly groovy sonic background to boot. “Never Matter” is one of Return’s most fast-paced tracks, and has a beat that’ll get your head nodding. And with “Cake” and “How’s it Wrong,” Bundick strays nearly into boy-band territory, and surprisingly sounds remarkably well-equipped for the job.
They’re the poppiest moments on a record that, for all of Bundick’s pre-album P.R., doesn’t really work as “pop.” The choruses are subtle, and if anything, Bundick seems to have focused more on constructing a defined and detailed sonic atmosphere than some kind of mainstream breakthrough. In some respects, this failure of Anything in Return as a “pop” record may reveal an even more admirable quality of Bundick than we’d ever seen before—even when trying to appeal to the masses, his focus remains first and foremost on his craft. Staying true to his principles, Bundick has given us another fine piece of work.
You can catch Toro Y Moi at the Bluebird Theater on Saturday, Feb. 23. Advance tickets are $15.50.
