For 'Canta Lechuza', Roberto Carlos Lange (aka Boom & Birds, Epstein, and half of Savath & Savalas with Prefuse 73), took to a wood house with 400 acres of land in winter 2010, and turned out a remarkably lovely and idiosyncratic album. In the best sense, there's no comfortable category for this guy. His spirited music absorbs and a rich Hispanic language and culture, along with elements of ambient pop, electronica, HipHop and something clearly unquantified, magical and sensitive. He delivers ten songs, each featuring tenderly harmonised Spanish vocals diffused between kaleidoscopic avant-pop arrangements rendered with a beautifully dreamlike quality - but Toro Y Moi this is not! Roberto confidently sidesteps any retro-fixated Chillwave trappings with a knowing and individual sense of futurism, probably best heard on the orinoco-flowing synths and seductively sweet vocals of 'Cenar En La Mañana', the juxtaposition of rubbery acidic bass and fairy-light vocals in 'El Oeste', and Fever Ray-like electronic ambiguity to 'Obara Uno'. But, ultimately this really sounds like nothing else out there and should be copped by fans of exotic electronic pop at their nearest opportunity. Make sure to check the samples.
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For 'Canta Lechuza', Roberto Carlos Lange (aka Boom & Birds, Epstein, and half of Savath & Savalas with Prefuse 73), took to a wood house with 400 acres of land in winter 2010, and turned out a remarkably lovely and idiosyncratic album. In the best sense, there's no comfortable category for this guy. His spirited music absorbs and a rich Hispanic language and culture, along with elements of ambient pop, electronica, HipHop and something clearly unquantified, magical and sensitive. He delivers ten songs, each featuring tenderly harmonised Spanish vocals diffused between kaleidoscopic avant-pop arrangements rendered with a beautifully dreamlike quality - but Toro Y Moi this is not! Roberto confidently sidesteps any retro-fixated Chillwave trappings with a knowing and individual sense of futurism, probably best heard on the orinoco-flowing synths and seductively sweet vocals of 'Cenar En La Mañana', the juxtaposition of rubbery acidic bass and fairy-light vocals in 'El Oeste', and Fever Ray-like electronic ambiguity to 'Obara Uno'. But, ultimately this really sounds like nothing else out there and should be copped by fans of exotic electronic pop at their nearest opportunity. Make sure to check the samples.
For 'Canta Lechuza', Roberto Carlos Lange (aka Boom & Birds, Epstein, and half of Savath & Savalas with Prefuse 73), took to a wood house with 400 acres of land in winter 2010, and turned out a remarkably lovely and idiosyncratic album. In the best sense, there's no comfortable category for this guy. His spirited music absorbs and a rich Hispanic language and culture, along with elements of ambient pop, electronica, HipHop and something clearly unquantified, magical and sensitive. He delivers ten songs, each featuring tenderly harmonised Spanish vocals diffused between kaleidoscopic avant-pop arrangements rendered with a beautifully dreamlike quality - but Toro Y Moi this is not! Roberto confidently sidesteps any retro-fixated Chillwave trappings with a knowing and individual sense of futurism, probably best heard on the orinoco-flowing synths and seductively sweet vocals of 'Cenar En La Mañana', the juxtaposition of rubbery acidic bass and fairy-light vocals in 'El Oeste', and Fever Ray-like electronic ambiguity to 'Obara Uno'. But, ultimately this really sounds like nothing else out there and should be copped by fans of exotic electronic pop at their nearest opportunity. Make sure to check the samples.
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For 'Canta Lechuza', Roberto Carlos Lange (aka Boom & Birds, Epstein, and half of Savath & Savalas with Prefuse 73), took to a wood house with 400 acres of land in winter 2010, and turned out a remarkably lovely and idiosyncratic album. In the best sense, there's no comfortable category for this guy. His spirited music absorbs and a rich Hispanic language and culture, along with elements of ambient pop, electronica, HipHop and something clearly unquantified, magical and sensitive. He delivers ten songs, each featuring tenderly harmonised Spanish vocals diffused between kaleidoscopic avant-pop arrangements rendered with a beautifully dreamlike quality - but Toro Y Moi this is not! Roberto confidently sidesteps any retro-fixated Chillwave trappings with a knowing and individual sense of futurism, probably best heard on the orinoco-flowing synths and seductively sweet vocals of 'Cenar En La Mañana', the juxtaposition of rubbery acidic bass and fairy-light vocals in 'El Oeste', and Fever Ray-like electronic ambiguity to 'Obara Uno'. But, ultimately this really sounds like nothing else out there and should be copped by fans of exotic electronic pop at their nearest opportunity. Make sure to check the samples.