"Underground isn't always relevant; I want to see what’s popular, then put my own spin on it." This statement (taken from one of several insightful interviews) should serve to prepare any potential listener for what is undeniably an intrepid experiment in the pop genre from the ever-divergent Chaz Bundick. I must admit--as a harsh, and generally unforgiving critic of my generation's pop music, Anything in Return is more than listenable. In fact, after my umpteenth audit of the album from every fathomable direction, I finally started to feel like maybe even I could get down to this.. (damn sneaky of you, Chaz.) This being said, I cannot simply laud this latest offering from one of my most-admired "bedroom producers" without just a hint of reservation. In the context of his previous works, this album is by far the most masterfully produced of his three full-length releases. Considering this is his first bonafide studio production, I think it's safe to say that Mr. Bundick has officially accepted his designated role as a forerunner for whatever this latest movement in modern music is going by these days. As you may have heard, Chaz has recently relocated to Berkeley, CA from his hometown in Columbia, SC. This is (in his words) a result of his choice to follow his girlfriend, who has recently begun pursuing her Ph.D in Environmental Engineering. The romance of his decision along with the inescapable California sun utterly permeate this album from start to finish. "I'd never lived anywhere other than where I grew up. A lot of the album talks about how hard it is to cope, but also how I'm comfortable out here, happy to be on my own." Bundick has never failed to impress with his knack for creating music that truthfully reflects his emotions and stages of personal growth. If Causers of This and Underneath the Pine were slightly broody self-actualizations soaked in melancholy and introversion, then Anything in Return is an optimistic triumph over his fears of leaving his life-long home and an expression of a newfound confidence, perhaps gleaned in part from his budding solidarity with Californian contemporaries such as Tyler, the Creator (Odd Future) and prodigious LA beat-guru Nosaj Thing. "If I made this kind of music in Columbia, I might have been more self-conscious. It would be so weird to show my old friends a song that sounds like Justin Bieber or The-Dream." Weird, indeed. The album opens with "Harm in Change," which goes hand-in-hand with the single, "Say That," immediately setting the tone for a house-dipped, dance-happy compilation that occasionally borders the realm of cheesy (although I suspect that it's mostly intentional.) The opening track clearly introduces the theme of leaving home, stating, "It's only one more day/Till we leave this state/And I know she thinks I've changed my mind." Building on this theme, "Say That" seems to express even more resolve; a satisfaction with his choices and an attempt to dispel any possible regrets ("She's alright, I'm alright/we're alright, we can't go back.") A conspicuous shift in Bundick's singing style is also heard, and while the overall effect may not appeal to some, his clean falsetto-y coos still cleanly compliment the pop-infused flavor of the album as a whole. These first two tracks serve their purpose well, and I'm sure we can look forward to a thousand remixes of both in the coming months, though I personally prefer the album's more intimate progression, beginning with "So Many Details." For me, this is where the album genuinely begins to display Chaz's personal growth, both as a musician and within his lovelife. Prior to this release, Toro y Moi has typically been an expression of how Chaz felt that he was a "victim of love" and now we begin to see him taking charge, emitting a certain level of aggression and sexuality. "So Many Details" is undoubtedly a sensual track, while simultaneously expressing both confusion and frustration over a relationship that has gone sour. But instead of wallowing in self-pity as he might have done a couple years back, Chazwick takes a more confident stand: "I don’t think I have a problem/I don’t think I need to fuss/I don’t wanna bother you/And there is no reason to rush." Track to track, there's an undeniable level of irony and contradiction, all the while maintaining an air of accessibility. Chaz has stated previously, "I'm not a pop musician," and yet succeeds phenomenally in his goal of creating this "sincere pop" album. The song "Rose Quartz" tries to convince the listener over and over that he "feels weak," though the traditional significance of the rose quartz stone is one of strength within a relationship and a general feeling of self-worth. "Cola" (a localized abbreviation for Columbia, SC) brings back a dose of Toro y Moi's signature intimations of nostalgia, replete with heartbreak and homesickness, yet ultimately a reassurance. For me, "High Living" is by far the easiest on the ears. It hooked me from the start with its easy-going gait and Rhodes-ridden melody along with that soaring sonar-like synth that for some reason hits my ears just right.. The indulgent sensation you're left with carries into the next track, "Grown Up Calls" which is pure Toro-brand R&B. Seductive, border-line intrusive, this track takes over--all fat synths, cool vibes, and in-your-face vocals that clearly emanate maturity and confidence. Unfortunately, this is where my personal tolerance for pop music ends. "Cake" was written specially for Chaz's girlfriend of the past eight years, who happens to love Justin Bieber. While my inner romantic might be gushing, my pre-calibrated ears protest. Perhaps if you also love Justin Bieber, then you can manage to empathize with this particular track (and the ones following), but alas, not I. The remaining tracks don't do much to assuage my ears' misery, as they generally keep up with the overly-commercialized pace of "Cake." To me, the lyrics cease their attempts to convey substance, instead giving in to easy phrases that fit with the mainstreaming style of music they accompany. "Day One" at least kicks off with a memorable chug of a beat along with a few yummy licks here and there, but again, it lacks depth. It's a lamentable finish to what I consider a truly inspiring venture into a genre I rarely explore. I think that if Chaz was unable to present himself honestly, that this album would not be worth the initial listen, but if you've been following his musical progression since "Blessa," then you already know who he is and can appreciate the sincerity of his efforts and personal growth. At no point has Bundick ever claimed to be a lyricist, and has repeatedly admitted that it is probably his weakest area. So, to a certain extent, I'm willing to forgive his off-the-cuff references to "Friday nights" and "being her boy forever" because no holds barred, this is a pop album and what else could you realistically hope to hear on top of those squared-off synths and bubblegum beats? Overall, this album deserves more than just a casual listen (as with everything Chazwick produces) and may surprise you as well with the depth it does manage to chisel into an otherwise consistently shallow genre.
Toro y Moi