Thundercat - The Golden Age Of Apocalypse

Such is the strange commanding power of social networking that I found myself in the position where, upon recommendation by Janelle Monáe via Twitter, I was downloading an album by someone I'd never even heard of before. I figured that if it possessed even an iota of the cross-genre experimentation and funk of Monáe's debut album last year, I'd be in for a good record, and I wasn't wrong. Their back stories are similarly unusual too - where Monáe went for a futuristic android sent through time to overcome racial prejudice, Thundercat himself has gone from punk rock to electro-jazz. Not quite so imaginative maybe but quite an unusual change of scenery.

There is one thing holding me back from loving this record and that's a widespread lack of vocals. I know instrumentals are more experimental and psychedelic without some dude telling you how beautiful this girl is, but there are inclusions of backing vocals that almost make this feel like a karaoke record at times. Do those exist? I wonder.


The first track demonstrates this (ignoring the introduction of 'Hooooooo!', sampling the theme tune for the legendary TV show); on 'Daylight' centre stage is given to a rainbow crest of alternating synths and electronic horns that, with the addition of some twinkles and the Isley Brothers-esque "open your mind!" smoothness, blends into a very palatable and chilled track that's both retrospective and imaginative. On 'Fleer Ultra' the guitars come into play and the track begins to take the record in a direction that I'd imagine Stevie Wonder would if he had debuted today. Late 80s chillwave synths subtly ebb in the background giving it a really timeless feel. Some vocals make it through on 'Is It Love?' but they seem distant; again the main focus being the bass (which really goes mental towards the end in spectacular fashion) and a saxophone solo that adds to the jazziness (is that a word?) that makes this record so exciting.

On the other hand Stephen Bruner (I probably should've introduced his real name at the start) is able to craft little pop songs that chip away at your subconscious with sweet harmonies and serene little nuggets of music - and 'For Love I Come' is the perfect example of that. At times reminiscent of Earth, Wind & Fire, it's the perfect end-of-summer chill. Everything down to the little synth-warps feels crafted as though by a pharmaceutical company with the perfect hallucinogenic. The unadulterated funk returns on 'It Really Doesn't Matter To You' though, which boasts some nice percussions. I guess you could say I'm more enticed by the nostalgic elements of the record, where the disco and the funk takes hold, because on probably the most electronic track, 'Jamboree', I'm not having so much fun. It squelches and beeps away nicely and it's by no means bad, and in fact it ties in nicely with this kind of cross-generational feel of the album, but it probably grabs me the least.

It picks up towards the end though and carries a more exciting beat into 'Boat Cruise' which again blasts these summery synths into your face like a cool breeze. Strings in the background feel like a synthetic interpretation of classic Bond movie soundtracks and the accompanying visions of southern France or what have you. "Seasons blow away but the love is just the same" is the refrain for the short-lived 'Seasons', a bit of a wind-down from the euphoria with some hints of uncertainty and heartbreak on the horizon. Then, for me, 'Goldenboy' plods along with no real energy or excitement. Quieter and almost subdued, there are some nice riffs here and there but it feels like an intermission. Perhaps it's intended to be more contemplative, and perhaps might grow on me.


A poppier rhythm then kicks in for 'Walkin'' which again feels like the early 70s disco reverie of Boney M. (albeit much less camp, even the "la la la la"s aside) or Earth Wind & Fire. Perhaps the most challenging and unnerving track then comes in 'Mystery Machine (The Golden Age Of Apocalypse)' which, despite the first track, contains no other references to Scooby Doo... unless the slightly sinister riffs throughout are meant to make you squeal "jinkies". Finally on 'Return To The Journey' there's a much more 80s atmosphere with snares and dark basslines that evoke a little Ultravox. The soulful vocals remain though, and if anything the final track is a perfect example of the unusual, varied influences on display by Thundercat.

However there's something preventing me from rapidly falling in love with The Golden Age of Apocalypse and that's its sometimes unpredictable and unconventional nature. I appreciate that it's an incredibly wide-eyed and complex record but I think it could do with reigning in some of its eccentricities in place of more focussed songwriting. That said, I can see myself coming back to the record time and time again with something new to discover. It's one of those records that make you still excited, even as a classicist or nostalgic, by new music, and for that I can only commend it.

Rating: 8.5/10
Highlights: For Love I Come, Daylight, Walkin', Boat Cruise, Is It Love?
Avoid: Jamboree, Goldenboy (don't really need to be avoided, I've just painted myself into a corner here with my typical reviewing template and as such have put my two least favourites)

Artwork Watch Let's not turn this into a rate-TV show-logos blog. Pretty audacious though.
For fans of: Stevie Wonder (or rather, his Innervisions stuff), Janelle Monae, Earth, Wind & Fire, Herbie Hancock, Santana... there's something for everyone here.