The bassist as bandleader is an anomaly - an exception that proves the role of vocalist/guitarist/? (anything else really) hegemony, especially in pop music. Whether Thundercat's new album, Apocalypse, is best described as pop is debatable. Produced by Flying Lotus, it fits into the sort of Hiatus Kaiyote neo-soul electronic _____ that has become so popular in recent months. Some songs, like the album opener "Tenfold," sound like they might be more club friendly Solange remixes, but others, like "Lotus and the Jondy," breach jam band/fusion territory, incorporating extended solos and generally less radio-friendly arrangements.
The album's high points, unsurprisingly, come on the low end (puns intended because... when writing about bass, puns are a necessary evil). The bass playing is absolutely incredible, providing a solid yet innovative foundation against which all other elements seem ornamental. The moments when the heavy production drops out and the bass is left to speak on its own, like the end of "Heartbreaks and Setbacks" are some of the most powerful on the album. However, they would likely lose their impact without the context of the album's dynamic and highly contrasting textures - bass solos have become something of a running joke for that reason (as a bass player, I should know).
Two tracks that stand out on first listen:
1) "Tron Song" - What would happen if Paul McCartney had a six string? Listen and find out.
2) "Without You" - Bass at its sexiest... so, pretty freaking sexy.
Listen for yourself.
