Album Review: Les Sins – Lina

Only two songs make up the debut from Chaz Bundick’s (Toro Y Moi) side project Les Sins. This isn’t enough. As the name suggests, this side of Bundick is one of decadence. It’s the normally more subdued musician at full pace, testing his pop-writing abilities for all they are worth. Kicking around since 2009, it’s a fun escape from the usual grind for Bundick, one that’s not far from his day job but just as exciting to hear.

Les Sins is the hyped twin of Toro Y Moi. Identical look, but even more ready to party. Lina provides club music in the vein of pre-Tron Daft Punk. With disco samples and sterling beats, it’s a trip back to early millennium dance music, that’s all. Increased tempo aside, the elements that make Bundick’s music haven’t changed much on this project. Les Sins keeps with the softer edges and vibrant tones that Bundick has made his signature. The biggest difference comes with the production in that nothing is washed over. The energy is up, the beat is pulsing, and it’s clean.

The first track, “Lina”, embraces the aforementioned disco sound to the fullest. Hook-heavy, the vocal sample and bass line turn up the funk, making it easily enjoyable. This style has been done a thousand times over already, but it never gets old. “Youth Gone”, on the other hand, is a blend of house and electronica. Bundick plays with the repetition, changing out the melodies and leaving the backing beat unfazed. He brings it in and out, turning it low, so he can build back up.

Conceptually, these tracks are not too far-fetched for Bundick. Listen to “Low Shoulder” or “Lissoms” off Toro Y Moi’s Causers of This, and you can hear a set of energized tracks in tune with what Lina presents. With Les Sins, we get that idea to its fullest. It’s Bundick’s glossy imprint on the dance world, one that had been stirring around and is now realized even further.

Nothing is being reinvented with Les Sins. Good music is good music, and this is just more ear candy from a musician who specializes in just that. What’s noticeable with Les Sins is that the songs are tighter for Bundick, and he’s looking to grow beyond the generalizations placed on his work. With this, he’s now showing that he has the chops to make a bigger dent in the music world, so here’s hoping he does, no matter what he calls himself.


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