Chaz Bundick is better known as Tori Y Moi, professor of chillwave, but Les Sins sees him in a more overt, outward-reaching dance mood, making instrumental tunes inspired by '90s hip-hop and characterised by the very rare vocal melodies you can latch on to. 'Michael' is recommended for fans of mainstream dance music, such as Daft Punk, as informed by a variety of different avenues, including techno and electronica.
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I really enjoyed Chaz Bundick’s first two records as Toro Y Moi but he started to lose his way on ‘Anything in Return’ which didn’t reap the dividends expected from the leaps he made from ‘Causers of This’ to ‘Underneath the Pine’. Here he is though under a more dance influenced moniker and I’m hoping for something like a return to form.
Certainly opener ‘Talk About’ bodes well. It’s oddball spoken intro gives way to sleek dance music with certain footwork influence in the stuttery samples and pumping beats. ‘Past’ is an eerie, soundtrack influenced slice of macabre dance. Stop start rhythms and eerie atmospherics. I was expecting a mostly instrumental album but ‘Why’ introduces vocals to the equations. It’s hard to tell here where Toro Y Moi ends and Les Sins begins. Its slinky Justin Timberlake/Neptunes influenced dancefloor fun, expertly produced and ripe for the mirror ball. The influenced of the nu school footwork stylings of DJ Rashad can be found in ‘Bother’ and several tracks in, the album starts to reveal itself as falling in between the two schools of melodic house influenced dancefloor grooves and cut up darker more underground work.
Nail is hit on head a couple of times, the highlight being the repetitive rhodes piano grooves of the gorgeously shimmering ‘Bellow’ which will appeal to fans of Caribou’s tech house triumphs of recent months.
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- Michael by Les Sins
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