Noise Pop 21 Toro Y Moi, Sinkane, Dog Bite, James & Evander

Sat. 03/02 | 7:30PM (Doors) - Sun. 03/03 | 1:00AM @ The Independent (map)

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Event Details

Chillwave, the musical style known for extreme danceability despite its relaxingly background feel, has found one of its champions in Toro Y Moi. Chazwick Bundick goes by the multi-lingual moniker, chosen randomly at age 15, blending the Spanish and French words as easily as he blends styles in his music. His third album, “Anything in Return,” recorded and mixed at San Francisco’s own Different Fur Studios and released January 22, combines sampled synth loops with mellow, multi-tracked vocals. Some of the songs flow smoothly, while others take a while to get into the groove. “Anything in Return” is one of those start-to-finish albums that takes on a liquid feel once it gets going, on and off the dance floor. 

Toro Y Moi’s style is relaxing, reassuring listeners that everything will be OK. His sound almost ubiquitous, equally comfortable soothing passengers of a glass elevator in a fancy hotel and providing life to a crowded, sweaty dance floor with pumping subwoofers. 

Occasionally, with an old school R&B feel and plenty of verbed-out clave, the repetitive ear candy melts into a soft pillow, propping up the occasional lyric and electronic keyboard sounds. Even elements of hip-hop find their way into the less subdued tracks. But more than everything, “Anything in Return” should be recognized for what it’s not. Despite all this electronica and overarching “cool” sound, Toro Y Moi manages to stay far, far away from those instantly recognizable and transparent dubstep trends. Though some say music surfers have moved on from riding the chillwave, Toro Y Moi is still hanging ten, toes on the nose. NICOLAS GRIZZLE


The Afrobeat is strong with this one. Ahmed Gallab moved from Sudan at age five to escape political turmoil. He fell in love with music in Ohio, of all places, and began making his own under the moniker Sinkane. The funkiest of the ‘70s meets today with keyboard and guitar licks giving a modern touch. Sometimes there’s a sense of mystery, almost a sense of sensible danger, like a rickety wooden roller coaster that’s perfectly safe, but feels like an adventure. NICOLAS GRIZZLE


Atlanta’s Phil Jones utilizes mellow, ‘80s, drum machines and plate reverb on his debut LP “Velvet Changes,” released this February 5th. With a massive sound that’s as understated as it is retro, Dog Bite previously released a 7” split with Toro Y Moi. It’s a good compliment to the fellow chill waver, if not a bit dirtier with less of an upbeat feel. This isn’t background music, it’s not elevator music, it’s introspective rainy day music at it’s best. NICOLAS GRIZZLE


If Moog and Casio could somehow team up with Astrazeneca and create a pill that would give you a synth-laden euphoria, I imagine James & Evander would be the soundtrack to the experience. The pairing of Adam Myatt and Glenn Jackson, J&E have been churning out space jams since 2009’s “The Awkward Turtle EP,” leading up to their latest, “Bummer Pop.” The lead track “Ambigamy” jams like Daft Punk but sooths like The Postal Service, while “Living The Dream” creeps with a more Tears For Fears/Pet Shop Boys vibe. ANDREW POHL


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