The Spin Doctor – Toro Y Moi, Underneath The Pine

And now for something completely different! It has been a cold trudge through the past few weeks of winter, and in some respects, the records reviewed here on The Spin Doctor have reflected that sentiment. Though we’ve had some great releases, most notably PJ Harvey’s Let England Shake and Wye Oak’s Civilian, as we move closer to spring, it’s important to have some music to help dust-off the cobwebs and get you out of hibernation. With that in mind, The Spin Doctor offers a record that’s accessible, warm, and most importantly, grooves.

Toro Y Moi – Underneath The Pine

3.9 out of 5

Ask any successful artist which record in their discography was the most challenging to write and record, and the answer will no doubt be the same: the sophomore release. After spending what is often years cultivating the ideas and sounds that result in a debut Lp, there is a new-found pressure on the artist for the follow-up: time and economic pressure applied by their record label, pressure from the fans and critics who fall in love with them, and, finally, the pressure the artists place upon themselves to meet and exceed the quality of their debut. It’s a formidable task, and one that the majority of artists never quite live up to.

Toro Y Moi is the brainchild of 25 year-old South Carolina native, Chazwick Bundick; a multi-instrumentalist who released a string of Ep’s leading up to his 2010 debut Lp, Causers of This. With obvious similarities between Bundick’s work and artists such as Washed Out, Neon Indian, and Memory Tapes, Toro Y Moi was thrust into the musical genre known as “chillwave”. What makes Underneath the Pine such an impressive follow-up is that not only has Bundick avoided the sophomore slump, he’s moved beyond the artistic constraints the unfortunate chillwave moniker denotes. With flavours of electro-funk, 70’s jazz fusion, and French electronica, Underneath the Pine is one of those records you can reach for when your friend/loved one gives you that vaguest of vague musical requests: “Play something upbeat.”

Lead-off track “Chi Chi”, plays as the introductory warm-up. At a brief 2 minutes and 25 seconds, it sets the stage for what’s to come: organ drones, tambourine, piano, drum treatments, shakers, vocals and a sweet bass riff. So much warmth pours off the track it feels like sitting on a beach watching the sunrise, and just as you’re starting to wonder what’s going to happen next, it’s over. That’s largely because Bundick has funkier fish to fry. “New Beat” has a Rhodes piano line reminiscent of Headhunters era Herbie Hancock, killer upright bass, and hand claps. Aside from being one of the standout tracks on the record, “New Beat” is a showpiece for Bundick’s production skills, which are impressive, indeed. There’s a lot going on in the mix, yet everything flows seamlessly and leaves a lot to explore on successive listens. Speaking of production skills, the arrangement for “Go With You” is something to behold. The off-beat/on-beat fusion of the organ, bass and drums in the opening few bars is stellar, as is the understated guitar work throughout the track.

The record meanders a bit through it’s mid-section, opting more for lush dreamscapes and elaborate arrangements, rather than straight ahead electro-funk. “Before I’m Done”, for example, reminds you of how elegant Air sounded back in their Moon Safari days, while showcasing what Bundick can do with acoustic guitars and live drumming. Things pick-up again towards the end: “Still Sound” plays like the b-side to “New Beat”, with an equally killer bass line, and jazz fusion influences, while album closer “Elise” pulls it all together, bringing a tightly wound, and brisk 39 minute record to its close.

For an artist with so many tools in his toolbox, Underneath the Pine could very easily have resulted in an exercise in excess; but, Bundick never really overextends himself, most notably with his voice. Similar in tone to Animal Collective’s Noah Lennox, Bundick’s vocals help root the record while never compromising the impact of the live instrumentation, which, make no mistake, is the intended focal point. Rather than rely on samples, and synths, the live drumming, organs and guitars bring an organic richness, warmth and dare I say, soul to the record. They also suggest that Bundick still has a lot of growing to do and isn’t content simply exploiting the comfortable ground the chillwave movement has established. In the meantime, Underneath the Pine is a fantastic record to kick-off your spring; or at the very least, incentive to grab those old Herbie Hancock and Stevie Wonder records growing dust in your music library.

- Ewan Christie