Others like “Bother” make for a perfect answering machine. The whole hip-hop/R&B work, I've taken that as far as I can take it. I don't know, yeah… It's good, but I can't grasp onto it. There is some really good stuff going on right now in R&B, but it's not too interesting to me anymore.

Those Pretty Wrongs - Those Pretty Wrongs, 4.29.16 What's funny is my voice is on all of the record, it's just manipulated and chopped up. Artists, once they get so big, they are constantly surrounded by people. 10-25 Los Angeles, CA – KCRW Masquerade Anything In Return came with a strong marketing push, including listening parties, a pop-up artwork, and collaborations with Vans. I don't know why they don't. That's got to be a relief for an artist. Studio Soundtrack 012: Don’t Bother Me, I’m Working. Stream Les Sins - Bother by Company Record Label from desktop or your mobile device. Tindersticks - The Waiting Room, Courtney Barnett – “Nobody Cares If You Don’t Go to the Party”, Toro y Moi - "Empty Nesters" - Sound it Out. People's attention nowadays is getting a little bit shorter, as is mine.

It was just another way to make weirder music without having to feel I'm alienating Toro y Moi. Les Sins certainly has an identity of its own, not living in the shadows of Bundick’s previous successes by any means. Yeah he heard it and I guess he was good. Michael, his first full-length album under the moniker brings “the chillwave godfather”- as labeled by Rolling Stone, to yet a different shelf in the record store. Hip-hop, rap and R&B now are sort of almost becoming… nothing is refreshing to me now. 11-15 Seattle, WA – Q Nightclub Why is Juicy J with Katy Perry? I was mostly by myself. Les Sins … I’m Niki Farfel and music is my expression. With any side project, it’s important see whether or not the artist actually set out to make something different or just rehashed his or her already established sound under a new name for some reason. I’m working.” It’s a beautiful, perfect lyric repeated over and over and over again, until a last-minute sonic 180 that I’m hard-pressed to … It was hard to do that, but it was also relieving to know that that step wasn't necessary. If the music I’m listening to has lyrics at all, they have to be incredibly simplistic—repetitive enough to induce the trance-like flow necessary to write, but with enough bottom to disguise the cries of “why does it say ‘paper jam’ when there is no paper jam?”. It is definitely. 11-12 San Francisco, CA – 1015 Folsom Chaz Bundick has a knack for monikers. Yeah, I felt like "Why" was my "Bound 2." When you say it's been interesting to see everyone do the R&B thing, what do you mean exactly? As far as music+food pairings go, the only other time I did an artist that great of a contextual disservice was when I gently hummed Sinatra’s “Strangers In The Night” to an Ellio’s pizza rotating in the microwave. I think people like that though. Why aren't big artists just doing it themselves? How often does the process of clearing samples, on an independent label with a small budget, and doing a lot of stuff yourself, affect your creative process?

Turns out, Les Sins, the dance-oriented side project of Toro Y Moi (aka Chaz Budnick), has kicked out my workplace jam of the year: “Bother.” As in, “Don’t bother me. Everyone is using the same chords. So in a myriad of ways, I do not possess the coolness in order to passably dance along to Les Sins. I just assumed that, if I ever use something that's recognizable and I have to get it cleared, I'd give it up for free, and I have tons of stuff like that. They almost can't function by themselves. I work in an office. Same thing for this track called "Past." I just want to put the record out and see if people discover it on their own and it spreads by itself. I've never had to clear a sample before.
More specifically, I am a writer who works in an open office plan, sharing a cubicle with two other souls and a world of interruption. Always trying to bring the best inspiration to our creative readers ! No way could I get this stuff cleared unless it was some big hip-hop artist who wants to clear the sample. Swirling synths, some steady thumping drums and an Illmatic-era Nas sample. I just kind of got bored with those types of chord progressions and those types of melodies. “Don’t bother me, I’m working, working”. Midway though making Michael I was tired of the whole R&B thing. We still get some disco treats on tracks like “Bellow” and “Why,” so don’t worry. But as opposed to his work on. I did that, I had explored everywhere I wanted to go with it, and Anything in Return was the apex of that whole phase of my music. Charles Bradley - Changes Workin Lyrics: "Then you get another chance tomorrow, I don't hustle like that. Your Friend - Gumption I never thought about it until it was time to get it cleared. It's like you can have this really commercial, polished sound, or you can be really smart and way beyond everybody, in this FKA Twigs kind of vibe.

How'd you decide to release something under a different name? “Don’t bother me, I’m working, working”. She was a contributor to the Future of Music Coalition’s international copyright and compensation research, was nicknamed “Scientific Terrific” by Pee Wee Dance of the Rock Steady Crew, and appears for, like, a split-second in Jem Cohen’s Fugazi documentary Instrument. I don't know his actual reaction to it, but he approved it, so that was cool. And he’s quite successful with this method on Les Sins’ debut LP Michael. As far as collaborations and producing people, I've gravitated more to musicians, not necessarily rappers and singers. It would be so rad if, like, whoever released something on Bandcamp that was just like a small demo.

You can also catch him in a city near you as he tours North America from now until December. I treat it as my playground and do whatever I want to do when it comes to making dance music, or even hip-hop beats. BOTHER – LES SINS. I knew I wanted to do a full length, and I don't know if I'm going to do another Les Sins [album], because it's obvious that Toro was my main thing. You've produced for Kool A.D; there was also a joint with Tyler, the Creator floating around. But then again, I didn't want to have to get anything cleared, so I thought I might as well do it myself. The lead-off track “Talk About” let’s you know what you’re in for right off the bat. With Toro, that's just me emulating pop music, and with Michael that was me trying to be as progressive and futuristic as I could be with it. I didn't want to make just house music, or just R&B, or hip-hop type production. Idiot Glee - Idiot Glee, 1.22.16 Les Sins contributes the functionality of the LP to designer Paul Rand and his quote “don’t try to be original, just try to be good”- a motto that prevails along Michael’s gamut. It's just a project that I had to get of my chest. Les Sins contributes the functionality of the LP to designer Paul Rand and his quote “don’t try to be original, just try to be good”- a … Was it a challenge to mute that and step down from the microphone to completely focus on production?

Yeah, that's what I'm saying.

I was talking to my friends like, "Where am I going to put this on my album?"

Les Sins is strictly production based, anything beat-oriented or production-oriented is what Les Sins is for. 11-21 Toronto, ON – The Hoxton. Kevin Morby - Singing Saw, 4.1.16 Around the time of Anything in Return, you'd told me you had tried to make pop songs. All the while, he snuck in pulsing dance production as Les Sins, a side-project originally conceived to flex his beatnerdiness outside the mainstream's watchful eye. The video for “Bother” is a gorgeously-photographed tribute to the inflatable gents who dance their hot-air hearts (and flappity, flappity arms) out at used car lots across America. Be amongst the 200,000+ Trendland subscribers You know there's tomorrow, I'm hustlin' like there's only one more Call it frustration or psychoacoustic evolution, Chaz Bundick’s newest work as Les Sins highlights a state of defiance, a wild reluctance to incarceration behind the bars of categorization.

I think it would be awesome if they did.

To signal that “I’m working, goddamnit,” I don the fanciest pair of noise-canceling headphones this non-profit gal could afford and loop house-heavy DJ mixes until closing time. Now that you've stepped into that producer role with this project, have there been more opportunities to make beats for other artists? It's interesting to watch the rest of the music world do its R&B thing, and so I'm tired of it. You've released dance music as Toro y Moi, like the Freaking Out EP. I hustle like this. That's interesting to me. Reply. Do you still see Michael as being totally separate from that body of work? A list of fundraisers you can support right now. While meticulously avoiding a guac’d t-shirt, the slick monotone voice on Bother started booming through the speakers, mockingly repeating the phrase “don’t bother me, I’m working,” over and over again.

After your last album Anything in Return, Toro y Moi was more recognizable than ever. For you to create, you mean?

Swirling synths, some steady thumping drums and an Illmatic-era Nas sample. Conscious of his mainstream appeal, Les Sins is hardly abrupt, more so inviting to revisit the dance-floor with kinetic instrumentation and less talk. Steve Gunn - Eyes On The Lines The resources are there. It’s not that jarring of a change, but it helps segway into the murkier dance-hall vibes on “Toy” and “Call,” which is a completely new direction for him. Don't, don't, don't, don't, don't, don't Don't bother me I'm working Les Sins; Bother Lyrics; About Genius Contributor Guidelines Press Advertise Event Space. I’m working.” It’s a beautiful, perfect lyric repeated over and over and over again, until a last-minute sonic 180 that I’m hard-pressed to explain, but can’t rob the song of its Chicago house-inspired genius.