If you were to survey the chances of a periodical on self-sufficient living from the countercultural era being the eponym for a visionary 2020s singer and instrumentalist’s latest record, they might be slim. But, as it turns out, the DIY currents that run through Toro y Moi’s eighth studio album, Hole Erth, have natural affinity with the big ideas of Stuart Brand’s ’60s and ‘70s catalogue that empowered readers to adopt self-sustaining lifestyles.

Naturally, however, a release from the forward-thinking, genre-gathering Toro y Moi (the 12-year project of South Carolina-hailing Chaz Bear), who’s collaborated with everyone from Tyler, The Creator, Flume and Travis Scott to Haim and Caroline Polachek, is as oriented with the innovation of today as that of the past. To name just one example, the project’s aesthetic, he highlights in a press release, is inspired by gorp-core, the modern-day trend that sees utilitarian and outdoor garments sported as streetwear – a symbol of a younger, digitally-minded generation who yearn equally for connection to the world’s natural foundations as its online ecosystem.

And then there are its sonic textures – raprock, Soundcloud rap and Y2K emo are among the genres that made their way onto the mood board, demonstrating the 37-year-old’s deftness for seamlessly collaging musical worlds into his kaleidoscopic own. And those he welcomes into it, this time around, look set to leave listeners equally awe-inspired, with Brockhampton frontman Kevin Abstract and Texan incoming hip-hop legend, Don Toliver, both occupying spaces on Bear’s longest collaborator list on a project to date.

Sitting down withMan About Town, Bear dives into Hole Earth’s inspirations, how he discovered the periodical behind its name, how his collaboration style has evolved and what fans can expect from his upcoming live shows…

Hi Toro! Massive congratulations on Hole Erth. We’re chatting a couple of months ahead of release, can you sum up what you’re feeling?
Overall, feeling excited to get this music to everyone's ears. This next half of the roll-out should be interesting and maybe a little more revealing.

We love that the album’s title pays homage to the 60s/70s periodical on self-sufficient life, Whole Earth. Can you tell us about where that link came from? How did you discover the publication?
Living in the Bay Area, California, it’s hard not to encounter clues from the counterculture of the 60s and 70s. It’s everywhere from a bar Beatniks would frequent to exploring a flea market and finding a rare poster. If anything I found out about the catalog through old design books and book hunting in general. I remember first finding a book by Lloyd Kahn on self-made/self-sustaining home structures. That sent me down a rabbit hole of similar bohemian lifestyle books – one being Whole Earth.

For anyone new to the Toro y Moi project, can you tell us a bit about the mission statement that has driven your work for the past 15 years?
Toro y Moi is the musical practice of South Carolina-born artist, Chaz Bear. It’s based on the idea of exploring and combining genres from across the world, blurring all of the lines.

The record represents quite a sonic cocktail and is expansive in the genres and influences it draws from. How would you say it marries your musical past with the refreshed artistic intent you applied when creating this time?
I think upon first listen, the listener might notice how this record has a bit more of a pop and less of an indie sound, but I think my vocals are what always tends to tie everything together. To me, this record is the perfect segue between Soul Trash and Outer Peace.

Beyond the sound itself, thematically, what are some new sides of your existing fans might get to hear more of on this project?
I think some fans might enjoy the more rap-[driven] delivery, but it’s nuanced. I think the real heads are listening for the ambience and space which I love on this record.

What were you listening to when making the record? Do you find you block out external influence during the creative process or do you like indulging in others’ work?
I didn’t listen to much, because I didn’t want to be influenced once I found the road I wanted to go down. It was more being focused on the project than tunnel vision. But whenever there were sounds playing, I’d usually go for ambient tracks and choral music. There are some choir references throughout the record as well… I love that before musical instruments it was just our voice.

Hole Erth sees the most features ever on one of your records. How would you describe yourself as a collaborator today? Have you changed at all?
I feel like I’ve learned so much about learning how to collaborate with other artists. It’s almost as important as working by yourself because someone is there showing you your reflection. Learning to work with others for me completes an even bigger picture. I love how naturally the different energies in the room can lead to stranger and better results, better than any algorithm can provide.

Finally, we know you’re heading out for some live dates – how would you describe the Toro y Moi live experience?
The live version of Toro is constantly evolving which I love. I’d say it’s become the perfect hybrid of an electronic and live act. Overall it’s about the songs. No matter what, the songs will always come through no matter how we play it and those are the moments the people are there for.