Story by Catie Keck
Photos as noted
Known by his stage name “Toro y Moi,” Chaz Bundick is recognized for his dreamy, psychedelic synth-pop accompanied by his candid, often melancholy lyrics. Only a year after the debut of his first album, Causers of This, Bundick released his second full-length studio album, Underneath the Pine, in February. The production of the album was done primarily between tours and in a time frame enforced by no one other than Bundick himself.
While his first album did exceptionally well by most reviews, Underneath the Pine matched—if not exceeded—his first LP. Moving from a strictly electronic and heavily mixed production to one with a heavier emphasis on instrumentals allowed Bundick to deliver a fuller, more accessible sound. Bundick decided to move away from samples on the new album, instead focusing on creating a more soulful aesthetic. During the writing and recording of Underneath the Pine, Bundick notes that he was heavily influenced by his favorite jazz musicians, which include legendary Lonnie Liston Smith.
In addition to his music for Toro y Moi, Bundick also produces a number of side projects. He performs as Les Sins, a dancier product of his Toro y Moi material, and collaborates on remixes such as his remix for Tyler the Creator’s “French.” Following a busy year of writing and recording, touring, and selling-out shows, Bundick discusses a few details of Underneath the Pine and a few of his many side projects.
Catie Keck: You produce the majority of your music from home. Why from home instead of in a studio?
CB: I enjoy producing music at home. I like it because I feel like the idea of living in your workspace is kind of strange, but I like it. It’s more comfortable, and it’s more familiar and welcoming. In the studio, you try not to think about it, but you’re always thinking about how much money you’re losing. There’s less pressure at home.
CK: Underneath the Pine has a much greater emphasis on instrumentals. Who were your influences while you were recording?
CB: One of my favorite jazz musicians, Lonnie Liston Smith, was my biggest influence. He’s amazing. I was also influenced by classically trained composers.
CK: You’ve mentioned that composers’ use of music in conveying emotion influenced the way you produced Underneath the Pine. How was this reflected on the album?
CB: I think just being versatile. I wanted to try to bring a lot of different things [to the album]. I didn’t want to be held down or pressured to create something that would be the same.
CK: One of your many projects, Sides of Chaz, was an EP done in a stream-of-consciousness manner. Could you explain that project?
CB: It was a series of songs I created without thinking about what I wanted to write. I haven’t really had a chance to go back and do some more stuff with that concept, but it’s definitely one of my favorite things I’ve ever done.
CK: What was the motivation behind doing a stream-of-consciousness EP?
CB: I wanted to find something different and challenging. I wanted to do something weird and try to get weirder with my music and songs. I felt like having that concept behind it was the way to do it. I didn’t pay as much attention to detail, and I focused more on the way I was making sounds.
CK: You’ve said before that you don’t want to do music forever. Do you plan on taking a break anytime soon?
CB: I don’t want to stop making music, but I don’t want to get jaded with it. I don’t want to feel obligated to make music. I want to keep music my hobby even though it’s my main source of income.
 

Gallery • 2 Photos

Toro y Moi, One Man, Multiple Musical Personalities