Apocalypse - Thundercat
Metascore
83

Universal acclaim - based on 22 Critics

Critic score distribution:
  1. Positive: 21 out of 22
  2. Negative: 0 out of 22
  1. Jul 8, 2013
    90
    Denser and fathoms deeper, this is some kind of leap.
  2. There’s a wealth of sonic variety on display but the concise run-time--clocking in at a fraction over 40 minutes--keeps matters focused and thoroughly engaging.
  3. Jun 14, 2013
    80
    While he’ll probably never eclipse the flaming star that is label boss FlyLo’s reputation, Bruner here shows that he’s both his collaborator and peer, fusing a multi-genre musical mentality with a brilliantly sharp edge of accessibility.
  4. 80
    Thundercat’s advancements on Apocalypse reconfigure the foundation that his debut album built.
  5. 90
    Bruner has elevated his game into something worth noting and more importantly, worth following.
  6. Jun 21, 2013
    90
    Apocalypse is very literally a rewarding and difficult second album, with its roots in tragedy and loss and its furthermost fronds in hope and moving forward, an album that challenges listeners with an incredible level of subtlety, hidden depths and wash of openly expressed emotion.
  7. Jun 4, 2013
    80
    The album's winning touches come from Bruner's soulful vocal melodies. They're a calming element tying each of the record's varied creative efforts together beautifully.
  8. Jul 17, 2013
    75
    The new Apocalypse is leaner and funkier than the more jazzy and sprawling Golden Age Of Apocalypse. [No. 100, p.59]
  9. Jul 10, 2013
    80
    Apocalypse is a multi-storied cosmic rollercoaster that asks the big questions while relocating hip hop on the astral plane. No mean feat. [Aug 2013, p.88]
  10. Jun 3, 2013
    90
    This album is the full realisation of his talent as a bass player, musician and, most importantly, a songwriter. Apocalypse is, in short, a supreme triumph.
  11. 70
    Though occasionally too florid, this bass cat’s on the path to majesty.
  12. Jun 3, 2013
    80
    If neither the lyrics nor bass lines break your heart, you might not have one.
  13. Jun 7, 2013
    82
    What comes up as a whole is this odd but endearing blend of plainspoken nonchalance and almost limitless musical eccentricity.
  14. Jul 10, 2013
    80
    A dazzling alloy of vintage progressive jazz and synthetic digital funk fired by unashamedly cosmic aspiration. [Aug 2013, p.106]
  15. Jun 18, 2013
    70
    It's a bash-up of prog-rock, electronica and funk, in descending order of influence, and Bruner conjoins all of them to create a drifting, happily disorienting otherworld.
  16. Jul 8, 2013
    60
    Here Bruner again shows that he has the tools for crafting tuneful compositions, but presents little that's dynamic enough to anchor an entire album, resulting in innocuous background burbles that never come off as especially attention-grabbing.
  17. Jun 3, 2013
    70
    These songs are all excellent, and if the album had maintained that level of consistency it might have shaded into genius, but sadly the rest falls short, frequently lapsing into a pleasant but slight flexing of Thundercat’s considerable chops.
  18. Jul 8, 2013
    80
    On this collection of futurised soul and funk, Bruner shows skills as a songwriter too.
  19. The weird, aquatic-sounding requiems are getting better all the time.
  20. 85
    Immerse yourself, revisit, peel back the layers and thoroughly dissect Thundercat’s artistry before reconstructing it again--you’ll find one of the year’s finest experimental pop albu
  21. Jun 10, 2013
    90
    Apocalypse is bolder and clearer, less blissed-out and more grippingly immediate than [2011's The Golden Age of Apocalypse].
  22. Jul 10, 2013
    70
    The knotty, punky, Squarepusher-style edges of its predecessor have been smoothed down, with a little too much perfumed whimsy in the mix. [Aug 2013, p.77]
User Score
7.9

Generally favorable reviews- based on 18 Ratings

User score distribution:
  1. Positive: 2 out of 3
  2. Negative: 0 out of 3
  1. Sep 22, 2013
    5
    This album doesn't feel as great as The Age of Apocalypse. His singing on most of his songs seem worse than on his previous album. There were only a small handful of tracks I enjoyed, like the closing track A Message for Austin. I would recommend listening to his first album before you check out this one. Full Review »
  2. Jul 31, 2013
    8
    This Album was for Austin Peralta, his bandmate who passed away. The bass lines and lyrics are meaningful and you have to really listen to the album to appraciate what he has done. Though it may not be as good as The Golden Age of the Apocalypse for some, it does shine. It's an honest and sometimes raw album with a lot of emotion pouring through. Full Review »
  3. Jul 17, 2013
    6
    I'll start by saying this is not my type of music, and I only listened to the album digitally online via Rhapsody, but the quality was great.

    Nice first couple of track. Good background music. The mood of the album changes to a bit of medium paced funk that is soft toned with a soulful vocal that is more in focus on 'Special Stage'. The next song 'Tron Song' keeps the soulful melodic vocals in most of the spotlight, but brings back the leftfield style, which is a good combo on the track, although a bit schizophrenic at times.

    With the sixth song, somewhat ironically called 'Seven', the vocals disappear (almost) completely, and Thundercat's leftfield experience shines through with the addition of a nice funky guitar solo toward the end. Full quality traditional funk is on display with the humorous 'Oh Sheit It's X'. Thundercat loses me on "Without You" which is a little a too far out there and spread apart. I give him a pass because the next song 'Lotus and the Jondy" is great in so many ways including a cool background drum with solo halfway through that takes the song to a nice nightclub-style ending.

    The album bounces around with style and genre, but ends with a very good outro called "A Message for Austin Praise the Lord Enter the Void" which is a song with an orchestral inspired intro with string instruments, pauses in the middle and then transforms into what I could call a tribal lullaby that toys with becoming leftfield-ish, but just skims the surface of the style.
    Full Review »