Toro Y Moi

Vinyl Records and Rare LPs:

	Anything In Return New - LP - CAK77 Sealed 2013 180gm 2LP, Housed In A Custom Die-Cut Gatefold. "Toro Y Moi’s Chaz Bundick Isn’t The Kind Of Guy Who Likes To Repeat Himself From Release To Release. His Debut Album, Causers Of This, Was Murky, Subtle Chillwave, The Follow-up, Underneath The Pine, Was A Much Brighter Affair That Sounded Equal Parts Space Age Bachelor Pad Music (à La Stereolab) And Late-night Disco. He Followed That Up With Freaking Out, A Bubbling, Funky Ep, And Then 2013’s Anything In Return, Where He Mostly Casts Aside The Guitars That Populated Underneath The Pine And Sticks Closer To A Sleek And Subdued Chill&b Sound That Sounds Like A Sadder Version Of Freaking Out. All The Songs Are Dipped In Shimmering Layers Of Synths With The Uptempo Tracks Underpinned By Gently Bouncing Drums, The Ballads With Stuttering Beats That Wouldn’t Sound Out Of Place On A Miguel Album. Though The Arrangements Are The Most Complex And Carefully Built He’s Done Yet, Bundick’s Vocals Are More Out Front Than Ever And Filled With A Newfound High Level Of Passion That Gives Each Song A Strong Emotional Heartbeat. Despite The Occasional Diversion Like The Super Sweet Love Song “cake” Or The Percolating “studies,” The Album Is A Quietly Melancholy Late-night Experience That Unspools Slowly And Smoothly Like A Brilliant Quiet Storm Mix Tape. The First Time Through The Album, It Almost Seems Too Quiet And Too Smooth, But Repeated Listens Reveal The Album’s Strength And Power. It’s Almost A Daring Step For Bundick To Take, As Expanding His Sound By Making It Brighter And Simpler May Have Led To Some Mainstream Success. Instead, His Retreat Into More Complex And Restrained Sounds Makes For A Richer And More Rewarding Listening Experience. That’s Not To Say That There Aren’t Any Tracks That Stand Out And Sound Like Singles; “say That” Has Insistent Rhythms And Chopped Up Vocal Samples That Are Sharply Hooky, “never Matter” Has An Almost Prince-ly Strut That Is Infectious, And “rose Quartz” Is A Softly Pretty R&b Ballad With Some Great Falsetto. Bundick’s Genius On Anything In Return Is That He Blends These Poppy Moments Into The Overall Fabric Of The Album And The Whole Thing Holds Together In A Tightly Wound, Perfectly Constructed Ball Of Sound And Songcraft. It May Not Be The Most Immediately Exciting Album Of His Career, But It Is The Most Impressive And Affecting." AMG Review By Tim Sendra. more
	Causers Of This New - LP - CAK52 Sealed 2011 Original, Includes Download Card. "Toro Y Moi (Aka Chaz Bundick, Who Began Making Bedroom Recordings Under That Name In 2001) Was Slated To Release His First Two Albums In 2010, And Causers Of This Is The First Of Them. Causers Of This Sounds Like A Dance-pop Mixtape Plunged Underwater -- It's All Smeary Synthesizers, Chopped-up Dance Beats, And Washes Of Reverb. In Other Words, It's A Sound Similar To That Of Neon Indian Or Washed Out (Which Makes Sense, Seeing How Washed Out's Ernest Greene And Bundick Were Friends Well Before This Album Came Out). Causers Of This' Main Appeal Is In Its Subtlety, And There's Real Pleasure To Be Found In All The Little Sonic Tweaks And Doodads Bundick Has Tucked Into Each Track (A Ghostly Mesh Of Sampled Vocals On "Fax Shadow"; A Delicate Drumbeat Echoing, As If Suspended Midair, On "Minors"). But In The Face Of How Imaginative And Meticulously Crafted It Is, Causers Of This Is Surprisingly Forgettable. It's Not That The Album Isn't Interesting (It Is!); It's Simply That No One Track Sticks Out. "Blessa," With Its Haunting, Chant-like Lyrics ("Come Home In The Summer...it's All Right/i'll Fill You In, Fill You In") Comes Close, But Comes To An End Before It Really Hits Its Stride; "Minors" Gets Closer (Bundick's Reedy Vocals Offer A Nice Contrast To The Track's Big Basslines, Booming Reverb, And Swollen Synths), But It Lacks A Pronounced Hook; And "Low Shoulder," A Dancy, Squinchy Single, Something Like A Sweet, Shy Mash-up Of Pacific! And Cut Copy, Comes So Close It Almost Hurts (Leading One To Wonder Why It Wasn't Given A Spot Earlier In The Album). That Said, Causers Of This Is A Promising Album; It's Well Worth A Spin Or Two If, Say, You're A Fan Of Neon Indian In The Mood For Something A Little More Introspective, And It's Reason Enough To Stick Around For Bundick's Sophomore Effort." AMG Review By (Possible Newer Repress). more
	Mahal New - LP - DOC300LP Sealed 2022 limited edition silver vinyl pressing housed in a gatefold jacket. Custom hype sticker affixed to resealable plastic sleeve. "Stuck at home in California during the COVID pandemic, Chaz Bear turned his attention to finishing up an album he had started years earlier. A more psychedelic outing with a focus on gnarly guitars and all flavors of funk, 2022's MAHAL feels like a logical follow-up to 2015's What For?, the first Toro y Moi album to lean hard into uptempo, guitar-led indie rock. Casting aside the slick pop sound of the previous two albums, this time Bear and friends turn the amps up and let rip on a collection of tracks that feel a long way from the dream-like sound Bear first cut his teeth on. Opening track "The Medium" sets the tone, with heavy-as-bricks guitar work provided by Unknown Mortal Orchestra's Ruban Nielson fighting a rock-solid funk backbeat to a draw. It's like Jimi Hendrix and Sly Stone got together to whip up a perfect instrumental, and it's a quick slap to the head for anyone thinking this was going to be something slick and easy to swallow. The rest of the record continues to defy expectations, explore psychedelic byways, and deliver goosebumps, even as it hews a little closer to the chillwave template on tracks like the watery, slinky groover "Magazine," which features a half-awake vocal assist from Salami Rose Joe Louis. Even that track explodes into some amp-shredding guitar wrestling at the end, something that happens at many other stops along the way. Bear noodles majestically like he was searching for the ghost of Carlos Santana on the laid-back funk jam "The Loop," sets the effects free to oscillate wildly on the billowing ballad "Clarity," blasts off into the cosmos like Prince on a good day ("Days in Love"), and lets guests Dylan Lee and Hannah Van Loon unleash some wild, backwards soloing on "Deja Vu" and "Way Too Hot" respectively. All the guitar overload lends a grittier, more immediate feel to much of the record, blending with the relaxed grooves and Bear's somnolent vocals to create a sound that's both bracing and calming. Not surprising considering the opposing poles of anxiety and solitude brought on by being isolated, a theme that pops up in many of the song's lyrics. After a couple of records where it felt like the machines and radio waves were taking over a bit too much, it's refreshing to have Bear invest the songs with some added excitement and imagination. Even the tracks that shy away from heavy six-string action, like the rollicking "Postman" or the cocktail jazz in space "Last Year," show the effects of the time and care spent crafting the arrangements. It might scare off some of the fans drawn to the pop side of Toro, but for those who appreciate the subtle twists and turns of his early work -- and especially those who wish he had expanded on What For? -- this is Bear and band at their most exciting, most inventive, and most fun." All Music Guide - Tim Sendra more
	Mahal New - LP - DOC300LP Sealed 2022 Original Gatefold On Standard Black Vinyl, With Custom Dead Oceans Company Sticker On Front. "Stuck At Home In California During The Covid Pandemic, Chaz Bear Turned His Attention To Finishing Up An Album He Had Started Years Earlier. A More Psychedelic Outing With A Focus On Gnarly Guitars And All Flavors Of Funk, 2022's Mahal Feels Like A Logical Follow-up To 2015's What For?, The First Toro Y Moi Album To Lean Hard Into Uptempo, Guitar-led Indie Rock. Casting Aside The Slick Pop Sound Of The Previous Two Albums, This Time Bear And Friends Turn The Amps Up And Let Rip On A Collection Of Tracks That Feel A Long Way From The Dream-like Sound Bear First Cut His Teeth On. Opening Track "The Medium" Sets The Tone, With Heavy-as-bricks Guitar Work Provided By Unknown Mortal Orchestra's Ruban Nielson Fighting A Rock-solid Funk Backbeat To A Draw. It's Like Jimi Hendrix And Sly Stone Got Together To Whip Up A Perfect Instrumental, And It's A Quick Slap To The Head For Anyone Thinking This Was Going To Be Something Slick And Easy To Swallow. The Rest Of The Record Continues To Defy Expectations, Explore Psychedelic Byways, And Deliver Goosebumps, Even As It Hews A Little Closer To The Chillwave Template On Tracks Like The Watery, Slinky Groover "Magazine," Which Features A Half-awake Vocal Assist From Salami Rose Joe Louis. Even That Track Explodes Into Some Amp-shredding Guitar Wrestling At The End, Something That Happens At Many Other Stops Along The Way. Bear Noodles Majestically Like He Was Searching For The Ghost Of Carlos Santana On The Laid-back Funk Jam "The Loop," Sets The Effects Free To Oscillate Wildly On The Billowing Ballad "Clarity," Blasts Off Into The Cosmos Like Prince On A Good Day ("Days In Love"), And Lets Guests Dylan Lee And Hannah Van Loon Unleash Some Wild, Backwards Soloing On "Deja Vu" And "Way Too Hot" Respectively. All The Guitar Overload Lends A Grittier, More Immediate Feel To Much Of The Record, Blending With The Relaxed Grooves And Bear's Somnolent Vocals To Create A Sound That's Both Bracing And Calming. Not Surprising Considering The Opposing Poles Of Anxiety And Solitude Brought On By Being Isolated, A Theme That Pops Up In Many Of The Song's Lyrics. After A Couple Of Records Where It Felt Like The Machines And Radio Waves Were Taking Over A Bit Too Much, It's Refreshing To Have Bear Invest The Songs With Some Added Excitement And Imagination. Even The Tracks That Shy Away From Heavy Six-string Action, Like The Rollicking "Postman" Or The Cocktail Jazz In Space "Last Year," Show The Effects Of The Time And Care Spent Crafting The Arrangements. It Might Scare Off Some Of The Fans Drawn To The Pop Side Of Toro, But For Those Who Appreciate The Subtle Twists And Turns Of His Early Work -- And Especially Those Who Wish He Had Expanded On What For? -- This Is Bear And Band At Their Most Exciting, Most Inventive, And Most Fun." AMG Review By Tim Sendra. more
	Outer Peace New - LP - CAK131 Sealed 2019 Standard Gatefold Edition, Includes Download. "Chaz Bear Never Makes The Same Toro Y Moi Record Twice. He's Spent A Decade Fine-tuning His Chillwave Sound, Adding Elements, Refining, And Discarding While Making Albums That Constantly Confound Expectations And Still Deliver The Songs And Moods That Make Him A Vital Artist. After The Narcotic, Nocturnal R&b Of Boo Boo, He Seemingly Immersed Himself In Daft Punk And The Dfa Back Catalog When Putting Songs Together For His Next Record. Outer Peace Kicks Off With A Three-song Dance Party. Rubbery Basslines, Clicking Guitars, Wobbly Synth Squiggles, Bear's Open-hearted Vocals, And Pumping Beats Fuel The Most Ecstatic Songs Bear Has Put To Tape Since His Les Sin's Side Project. The Thunderous Bassline On "Ordinary Life" Is Almost Worth The Price Of Admission Alone, And The Acid House Synth Squiggles On "Fading" Have A Nostalgic Glow. It's An Impressively Exciting Opening, But The Listener Soon Crashes Back To Reality With Some Late-night R&b That's Reminiscent Of Boo Boo, But Stripped Down To Radio-friendly Basics. "Miss Me" Features Lead Vocals By Abra And Skeletal Backing And "New House" Is Introspective And Chilly Balladry. The Rest Of The Record Flits Between Uptempo, Fun Dancefloor Jams ("Freelance," "Who Am I") As Warm And Fun As The First Day Of Spring, And Chilly, Undercooked, And Overwrought Ballads Like "Baby Drive It Down" And "Monte Carlo," Which Have All The Trappings Of Modern Pop, Which Isn't Necessarily A Bad Thing, But Bear Doesn't Add Anything Distinctive Or Very Interesting To His Versions. The Songs Come Off Like Bad Imitations Of Drake Or The Weeknd And That's Not Something Anyone Needs In 2019. Subtract The Handful Of Tracks That Fall Into This Category And What's Left Is A Fun, Very Well-crafted Ep Of Uplifting Dance Music, The Best Bear Has Made Yet. Add Them Back And The Record Ends Up A Very Mixed, Somewhat Disappointing Bag That Takes Toro Y Moi To Some Exciting New Places, But Also Treads Familiar Ground." AMG Review By Tim Sendra. more
	Outer Peace New - LP - CAK131 Sealed 2019 Standard Gatefold Edition, Includes Download. "Chaz Bear Never Makes The Same Toro Y Moi Record Twice. He's Spent A Decade Fine-tuning His Chillwave Sound, Adding Elements, Refining, And Discarding While Making Albums That Constantly Confound Expectations And Still Deliver The Songs And Moods That Make Him A Vital Artist. After The Narcotic, Nocturnal R&b Of Boo Boo, He Seemingly Immersed Himself In Daft Punk And The Dfa Back Catalog When Putting Songs Together For His Next Record. Outer Peace Kicks Off With A Three-song Dance Party. Rubbery Basslines, Clicking Guitars, Wobbly Synth Squiggles, Bear's Open-hearted Vocals, And Pumping Beats Fuel The Most Ecstatic Songs Bear Has Put To Tape Since His Les Sin's Side Project. The Thunderous Bassline On "Ordinary Life" Is Almost Worth The Price Of Admission Alone, And The Acid House Synth Squiggles On "Fading" Have A Nostalgic Glow. It's An Impressively Exciting Opening, But The Listener Soon Crashes Back To Reality With Some Late-night R&b That's Reminiscent Of Boo Boo, But Stripped Down To Radio-friendly Basics. "Miss Me" Features Lead Vocals By Abra And Skeletal Backing And "New House" Is Introspective And Chilly Balladry. The Rest Of The Record Flits Between Uptempo, Fun Dancefloor Jams ("Freelance," "Who Am I") As Warm And Fun As The First Day Of Spring, And Chilly, Undercooked, And Overwrought Ballads Like "Baby Drive It Down" And "Monte Carlo," Which Have All The Trappings Of Modern Pop, Which Isn't Necessarily A Bad Thing, But Bear Doesn't Add Anything Distinctive Or Very Interesting To His Versions. The Songs Come Off Like Bad Imitations Of Drake Or The Weeknd And That's Not Something Anyone Needs In 2019. Subtract The Handful Of Tracks That Fall Into This Category And What's Left Is A Fun, Very Well-crafted Ep Of Uplifting Dance Music, The Best Bear Has Made Yet. Add Them Back And The Record Ends Up A Very Mixed, Somewhat Disappointing Bag That Takes Toro Y Moi To Some Exciting New Places, But Also Treads Familiar Ground." AMG Review By Tim Sendra. more
	Underneath The Pine Used - LP - CAK59 2011 Original With Custom Inner Sleeve. Vinyl Appears Glossy. more
	Underneath The Pine Colored Vinyl - New - CAK59 Sealed 2021 10th Anniversary Repress. No Hype Sticker. Unable To Confirm Colour Variation, But Looks Like This Is The Clear With Yellow & Orange Splatter Vinyl. Made In Canada Printed On Rear Shrink. "Toro Y Moi's Debut Record, Causers Of This, Fit Firmly In The Newly Formed Chillwave Tradition. Chaz Bundick (The Sole Member Of The Group) Created A Sound That Was Hazy, Lazy, And Submerged With Lots Of Peaceful Melody And An Easygoing Late-night Warmth And Charm. On The Follow-up, Bundick Could Have Done More Of The Same And It Would Have Been Just Fine, Thanks To His Way With A Melody And The Invention He Put Into The Lo-fi Arrangements. Instead, Underneath The Pine Takes Some Of The Chill Out Of The Wave And Strips Away Much Of The Murk. The Resulting Record Is A Shiny, Dreamy Affair That Retains All The Hooks And Feel Of The First Album But Adds Some Energy And Pop Immediacy. The Biggest Change, Apart From The More Focused Production, Is That In Between Albums Bundick Seems To Have (Mostly) Forsaken His Shoegaze Fetish And Discovered Stereolab And Their Take On Space Age Bachelor Pad Music. Many Of The Songs On Underneath Have The Chiming Guitars, Blocky Organ Parts, Squiggly Synths, And Robotic Rhythms, As Well As The Tight And Looping Vocal Harmonies, That Stereolab Patented. Bundick Adds Some Soft Rock Chord Changes To The Mix, And The Resulting Sound -- While Highly Reminiscent Of The Lab -- Actually Ends Up Sounding Quite Unique. The Real Piano (Or A Reasonable Imitation Of One) That Pops Up Now And Then Is A Nice Touch That Distances Underneath From The Chillwave Aesthetic. The Unabashedly Fun Dance Tracks On The Album Are Also A Leap Forward. While Causers’ "Low Shoulder" Was Danceable Enough, “new Beat” And “still Sound” Leap Feet-first Onto The Dancefloor With Steady Rocking Beats, Pumping Basslines, And Sensually Delivered Vocals. The Keyboards On Both Tracks Are Kind Of Magical Too; The Shimmering Piano Runs On "Still Sound" And The Cheesy But Super-funky Synth On "New Beat" Are Perfect. Based On These Songs, Bundick Could Easily Slip Out Of This Whole Chillwave Thing And Become A Disco Hero. Within The Context Of The Album, Though, They Provide A Boost Of Energy And Fun That Makes The Record Really Pop. Underneath The Pine Is An Improvement In Every Way On Causers Of This, And It Should Be The Start Of A Long And Interesting Run Of Records By Bundick And Toro Y Moi." AMG Review By Tim Sendra. more