REVIEW: THUNDERCAT – THE GOLDEN AGE OF APOCALYPSE

Thundercat
The Golden Age of Apocalypse
Braindfeeder

Stephen Bruner, aka Thundercat, has had a prolific few years, appearing as bassist on a number of significant projects –  Flying Lotus’ Cosmogramma and Erykah Badu’s New Amerykah  Part Two (Return of the Ankh) being two of the most notable.

In fact, it was Thundercat’s contribution to  Cosmogramma – where, amongst other things, he lent vocals to the sublimely starry-eyed MmmHmm –  which has led to a degree of anticipation in the lead-up to the release of The Golden Age of Apocalypse. His distinctive bass-work, all fluid, high-energy runs up and down the fretboard, became one of the central struts around which Flying Louts’ album formed. Many of Cosmogramma’s cast  have put in an appearance, yet Thundercat’s début does not come off as a reductive sequel to its spiritual predecessor. Even when the coda of Is It Love? swells up into a sombre reprise of MmmHmm, the feeling is that Thundercat is carving out a supremely self-confident piece of turf for himself. There is no doubt that he is a talented musician; on Goldenboy it spars with the snare drum and high-hat, indicating just how consummate Thundercat is in terms of developing jazz improvisation past the sprawl of idle fingers and into melodic exploration.

For those seeking the ADHD itch of Cosmogramma, the experience of listening to The Golden Age of Apocalypse is likely to be initially one of disappointment. In comparison to the skittish transitions that marked Flying Lotus’ album, the songs offer reasonably extensive work-outs that seem more exercises in genre than diabolic mash-ups. Not that this should be interpreted as a point of criticism, Thundercat’s song-writing is sublimely up to the task, the gently stoned bossa nova of Seasons with its background of slightly detuned analogue synths being a case in point. Thundercat’s voice is warm and the harmonies on the George Duke cover For Love I Come are worked into a highlight of the album.

The Golden Age of Apocalypse is likely to confuse a number of those expecting some form of Cosmogramma part deux. It is primarily a jazz album with a touch of electronic interference, and clearly a sum of Thundercat’s numerous influences and co-collaborators rather than drawing on one area in particular. Regardless of the musical position it occupies in comparison to its immediate peers, Thundercat has a defiantly esoteric and individual début, as well as a fantastic showcase for his remarkable talent.

Words: Andrew Spragg

Filed under: Bass, Electronic, Hip-hop, Jazz, Reviews by D.K.