Thundercat- Drunk

Thundercat
Drunk
Brainfeeder 2017

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I’m just going to say it- Stephen Bruner is a weird guy. Even before listening to his third studio album as Thundercat, there were plenty of chances to see why. His best friend is fellow West Coast renaissance man Flying Lotus, a character deemed certifiably brilliant and insane. At last year’s Grammy’s he accepted an award for his Kendrick Lamar collaboration with a lightsaber in his waistband. Colorful clothing and headwear are a staple at most of his live shows. But in two (and a half) previous releases that provided more focus on Bruner’s moods and musical virtuoso than eccentric personality, it was difficult to imagine how or if the two might ever truly coalesce.

With Drunk, released on Lotus’ Brainfeeder label, Thundercat has his most honest and personal record yet. Its 23 quick-hitting tracks embody the ambition of their creator, all while painting the picture of a figure that has finally reached an equilibrium. Absent the overwhelming shadows of loss and grief that were cast over his wonderful 2015 EP Where the Giants Roam- a reflection on the tragic death of a lifelong friend- the album offers a glimpse at something much more frivolous. To its credit, it doesn’t completely give up the serious considerations included in his past discography. Instead, it hides them behind a backdrop of initially light-hearted instrumentals and ideas, before eventually fading into an alcohol and drug-induced stupor that, suddenly, feels surprisingly assured. Rampant allusions to death and mortality are replaced by odes to Bruner’s cat. Rather than grasping at relationships and pondering the meaning of life and the soul, he’d rather play Mortal Kombat. This time around, it’s Thundercat’s world, and we’re just living in it.

As a bass player, there was little left for Bruner to do to validate his unmatched skillset. Not only were his two prior full-length albums sparkling compositions of jazz and soul themes, but his myriad collaborations ranging from Erykah Badu, FlyLo, Kendrick Lamar, and hardcore punk band Suicidal Tendencies proved his chameleon-like quality that fit in with whichever style surrounded him. In each case his tight grooves and clever jamming added layers of depth, and epitomized his strongest traits that pervade his solo outputs. Here, however, it becomes clear that his new work wasn’t about validating, but innovating, and doing so on his own terms.

Drunk manages to raise the bar in ways that embrace but challenge his natural talents. The appearance of yacht-rock legends Kenny Loggins and Michael McDonald on “Show You the Way” sounds pure and romantic, and is an unexpected but resounding success. The techno that fills “Tokyo” marks a clear divergence from convention, and has Lotus’ producer fingerprints all over it. Likewise, the dizzying synths on “Real Friends” add electronics to the ambiguous and broad classification of Thundercat’s music. As he continually expands and refines his musical palette, which now includes ‘70s funk, jazz-fusion, and soulful R&B, among others, categorizing him is inevitably a tall task (and an unnecessary one, if you asked him).

Most rewardingly, the record showcases the growth of Bruner’s falsetto, which has evolved from an experiment to a strong point; from a question mark to an asset. The sunny “Bus in These Streets” feels light and playful as he exhales observations between the striking chimes of a xylophone. On “Them Changes” his voice climbs from a funky melody to meet smooth keys and the saxophone of frequent-collaborator Kamasi Washington. He encapsulates the balance struck between dwelling on and overcoming challenges, and reaching a point of comfort (“Somebody tell me how I’m supposed to feel/ When I’m sitting here knowing this ain’t real”). The uncertainty and exasperation in his words are ultimately overshadowed by the clarity of his voice.

These genre-branching variations represent the ascension of an uber-talented bass-player into an artist that can push past preconceived notions without giving up the core that served him well throughout his gradual rise. Over the course of the album’s zig-zagging two and three minute songs, Bruner displays just enough zeal to make it look like he’s working toward something singular, only to change direction just before it materializes. Alternating between the seemingly silly (“You are so drunk, you miss it all/ just make sure you have the right Jordans on”) and undeniably profound (“I’d rather be up my mind/ than to be dead alive”), the journey never seems pointless even if it doesn’t lead anywhere in particular. There’s never been a better opportunity to peer into the sometimes dark, often hilarious mind of Thundercat.

There’s a reason Bruner has a knack for creating music that feel fresh and exciting, and it’s all about his approach. For him, song-writing isn’t about reaching a clear endpoint or even honing in on a specific sound. Rather, his ideas and themes are a starting point that take him into unchartered territory. There’s no confinement; he’s just slipping down the rabbit hole. In this case, it’s the laid-back authenticity that makes Drunk so rewarding. After coming to terms with how to accept pain, to embrace the travails of being black in America, he’s left to live his life, abandon sobriety, and make his music the best way he knows how- with total freedom to do whatever he wants. And, yes, of course, that means it gets weird.