Collective Concerts Presents
Toro Y Moi
The Sea and Cake
410 Sherbourne Street
Toronto, Ontario, M5X 1K2
Doors 8:00 PM
This event is 19 and over
Toro Y Moi
Since his first offerings began making the Internet rounds in 2009, Toro Y Moi's Chaz Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the his oeuvre. The funky psych-pop of 2011's Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking Out EP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer-songwriter spectrum in which he's worked since his debut, and his third full-length, Anything In Return, sees him poised directly in the middle of the two.
The product of a move to Berkeley, CA and the subsequent extended separation from loved ones, Anything in Return shows a pervasive sense of peace with Bundick's tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production, putting forth the impression of unmediated id. The producer's hand is prominent—not least in the sampled "yeah"s and "uh"s that give the album a hip-hop-indebted confidence— and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like "High Living" and "Day One" show a considerably Californian influence, their languid funk redolent of a decidedly West Coast temperament, and elsewhere—not least on lead single, "So Many Details"— the record plays with darker atmospheres than we're used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter's return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist's essence.
The Sea and Cake
The exciting sound of a well-oiled band. Car Alarm is The Sea and Cake's eighth full-length record. It is bracing, like the surge of wasabe on sweet sushi, like the slap of cool water on a diving body, like the head-rush of a rollercoaster just leaving summit. Bracing music is most often encountered in concert. Only the heaviest hitters have translated the live thrill into the recording studio. Think of the great working bands, the Charles Mingus Quintet, the John Coltrane Quartet, the Meters or the Minutemen. For them, there was no gaping chasm between the studio and the road; the studio was just another stop, a gig, a continuous part of the flow of playing and working and creating together. As always, the band is made up of Sam Prekop (guitar and vocals), Archer Prewitt (guitar), John McEntire (drums) and Erik Claridge (bass).
Car Alarm is the sound of a well-oiled band. Heavy hitters. Listen to the intricate intertwining strings of Sam Prekop and Archer Prewitt and you'll hear the frontline of a working unit that has moved seamlessly from the stage to the studio and back. Historically, The Sea and Cake stayed the course since forming in Chicago in 1993, but over the last couple of years they have pulled in even tighter, recording hot and fast on the heels of a busy performance schedule without breaking for other projects. The sense of trust and communication that is key to a working band – particularly in the rhythm section, where drummer John McEntire and bassist Eric Claridge create their intimate alchemy – is cultivated over the long haul, by means of an epoxy bond and preternatural antennae. Stop working together, and those connections go dormant, hibernate; keep on trucking, and they deepen and get sharper, allowing the band to reach for new things, experiment freely, evolve and develop and grow. The ground doesn't have to be prepared; the canvas is already primed, ready for the first brushstroke.
The aim with Car Alarm was to follow up quickly on its precursor, the somewhat stripped down Everybody. Prekop says the band wanted to make a record that felt like they had never stopped playing, a continuously limbered up ensemble that parlayed its last tour into new material. They started working on it right after an Australian tour in March, and finished it after a miraculous three-month gestation. If the usual process in pop music is to make a record and then breathe life into it on the road, this flips that presumption on its head, starting with a vital, pulsing set-list on disc; what heights they'll take the new songs to in concert only remains to be seen.
Where in the past, The Sea and Cake has disbursed between records to allow each member their individual pursuits – Prekop and Prewitt's artwork and solo projects, McEntire's production at his SOMA Studio and work with Tortoise, Claridge's alternate identity as a painter – in this case they didn't disband, but dove straight into Car Alarm. The quickness reflects a personal urgency, too, given the imminent delivery of Prekop's firstborn. Thoughts of fatherhood may lend a kind of optimistic air to the record. It has the breezy, open, crisp sound that The Sea and Cake have spent 15 years crafting, but Car Alarm also has a palpable edge. That's the edge of people who know each other well enough to push a bit harder, who aren't worried about ruffling each other's feathers or trying something different, difficult, intuitive, trusting. Something bracing. Here 'tis.