Last year, the debut from Toro y Moi (real name: Chaz Bundick) tipped him as one of the leading purveyors of "chillwave" — woozy, low-fi, sample-based electronic music for a post-Animal Collective generation. But for his follow-up, Bundick decided to use only organic, live instrumentation. The results are groovier and prettier, touching on baroque pop ("Before I'm Done"), slinky disco ("New Beat") and psych rock ("Good Hold," "How I Know"). Bundick tosses in interludes like "Divina," where the swirl of instruments mimics his debut's hypnotic feel. As Bundick reveals more of his esoteric pop sensibility, comparisons to Beck feel increasingly apt. Whatever wave Bundick is riding, he's likely to be at the front of it.

Listen to "New Beat":

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“All Along the Watchtower”

Jimi Hendrix got hold of Bob Dylan's early John Wesley Harding tapes and in late 1967 recorded a version of "All Along the Watchtower" with the Experience in London. Dissatisfied with that first development, Hendrix brought those tapes with him to New York in early 1968 when he began work on Electric Ladyland. Eddie Kramer, Hendrix's engineer at the time, told Rolling Stone that Hendrix "was still looked upon by his basically white audience as the mammoth black guitar hero. There was a constant fight within him to expand himself." Hendrix's successful take on Dylan's work has long been recognized by the songwriter. "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way," Dylan wrote in the liner notes to his Biograph box set. "Strange how when I sing it, I always feel it's a tribute to him in some kind of way."