Tag: Thundercat

New Video: FYUTCH’s Hilarious Action Movie-based Take on Rejection

Harold Simmons II is a Gary, IN-born, New York-based (by way of a lengthy stint in Nashville, TN), emcee, singer/songwriter, multi-instrumentalist and producer, who writes and records as FYUTCH (pronounced Fi-yoo-tch). Simmons can trace the origins of his musical and performing career to when he initially began to receive attention as a public speaker, who had given speeches at a number of impressive and major public events — including Gary’s Mayor Scott L. King’s campaign banquet and on the steps of Congress. When he turned 17, Simmons formed Legendary Biscuits and Gravy a band in which he played alto sax and contributed vocals with friends, Eric Sexton (keyboard), Brandon Holt (drums), Wesley Winfrey (tenor sax) and Brady Surface (bass). The quintet received regional acclaim as they were nominated for Southern Entertainment Awards’ Best Indy R&B Artist of the Year in 2007. And over the subsequent two year period, the band saw a rapidly growing profile as they’ve been on bills that included nationally and internationally recognized artists including The Pink Spiders, Sam and Ruby, as well as opening for Kanye West, GZA and Nappy Roots.

Simmons relocated to Nashville and while using the moniker Future the Artist, Simmons released his self-produced solo debut The Sci Fly EP, which garnered a Nashville Music Award nomination for Best Urban Recording of the Year, which he followed up with his Overnight Mixtape series in which he wrote and recorded six mixtapes — with each mixtape being recorded during an overnight studio session and then released as a free download the next day. The mixtapes caught the attention of renowned site, Nashville Scene, who praised Simmons’ work; in fact, thanks to the growing attention he received, the fourth mixtape of the series found Simmons collaborating with the likes of Bun B and GLC. Additionally, as a solo artist, he has opened for Wale, Pharrell Williams, Little Brother and Afroman.

By late 2012, Simmons changed his name to FYUTCH after discovering that there was another artist who also went by the name Future, who was receiving quite a bit of attention nationally — and internationally. And since changing his performing moniker, Simmons has released several efforts including Mr. Flattop, which was executive produced by DJ Rob “Sir” Lazenby and featured guest spots from Mike Stud, Futuristic, Mello Rello, Whitney Coleman and production by G-Pop, Wick-it the Instigator and The FANS; a psychedelic hip-hop concept EP Peace, Love and FYUTCH which was produced by G-Pop and featured deeply obscure samples and world music percussion. Interestingly, “Funked Up,” the first single off his Philosophy of Love EP was produced by Solar Shield — and the single is a Dam-Funk/Thundercat retro-futuristic -leaning jam featuring shimmering, arpeggio synths and wobbling low end paired with Simmons rhyming and singing a hilarious and very true tale about approaching an attractive woman, who’s been attracted to for some time or has noticed for a little bit and being cruelly rejected for his efforts. On one level, the song is about having the blind courage to risk being made a fool of and being rejected; on another level, the song is a tell off to someone, who in the narrator’s eyes doesn’t see what kind of man he is; but also, the song can be viewed as an admission of how stupid and vulnerable love can make us. And Simmons does all of this in a slick and funky as hell, dance-floor friendly song.

Filmed by Wesley Crutcher, the recently released video for “Funked Up,” is a mischievous take on action movies — in particular, movies like Jumper in which the main character travels through time; in this case, the future FYUTCH winds up traveling through time to see a younger FYUTCH get rejected by one of his first love interests, while the older FYUTCH gets rejected by a love interest, who was sitting near the younger FYUTCH. Trippy, right? But at the same time, it’s goofy and hilarious take on rejection.

 

Now if you’ve been frequenting this site for a while, you’d know that the past couple of years have been incredibly productive and prolific for the critically applauded and renowned bassist, vocalist and JOVM mainstay artist Stephen “Thundercat” Bruner as he made guest appearances on two critically and commercially successful albums  — Kendrick Lamar‘s Grammy Award-winning album, To Pimp A Butterfly and  Brainfeeder Records labelmate, Kamasi Washington’s The Epic, and arguably one of of 2015’s best albums, The Beyond/Where the Giants Roam, an effort which further cemented Bruner’s reputation for being  a dexterous bassist and mischievous songwriter, as the material off that album possessed a retro-futuristic sound that nodded at Steve Wonder‘s legendary 1970s output, complete with wobbling and propulsive bass lines, arpeggio synths and Bruner’s sultry and plaintive falsetto.

Bruner’s third, full-length effort Drunk is slated for a February 24, 2017 release through Brainfeeder and the album will be an epic 23 track journey into the bizarre, hilarious and sometimes dark mind of the singer/songwriter and bassist — and the effort finds him collaborating with an All-Star list of collaborators including frequent collaborators and friends Kamasi Washington, Kendrick Lamar, Wiz Khalifa and Pharrell Williams, along with Michael McDonald and Kenny Loggins. While the album will feature fan favorites “Bus In These Streets” and “Them Changes,” one of my favorite tracks off The Beyond/Where The Giants RoamDrunk’s first single “Show You The Way” was a soulful, 1970s jazz fusion-leaning track in which shimmering arpeggio synth lines, stuttering drums, Bruner’s incredible bass work and sultry falsetto with the legendary vocal work of Kenny Loggins and Michael McDonald that interestingly enough reminded me of  Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near).”

Although Valentine’s Day has passed, Drunk‘s latest single is an Anti-Valentine’s Day anthem in which the song’s narrator complains about a love interest, who has not only friend zoned him, but continually plays games with him and his feelings. And throughout the song, the song’s narrator builds up the courage to tell the object of his attention that he’s had enough of having his emotions and heart fucked with — and instead of being friend zoned by an asshole, he would be better off by himself. Sonically, the song continues along a similar vein of the album’s preceding single as shimmering, arpeggio synth lines, a wobbling and propulsive bass line and four-on-the-floor drums paired with Bruner’s dreamy falsetto; however, unlike “Show You The Way,” “Friend Zone” is full of the bitter recriminations and frustrations of cruelly unrequited love.

 

 

 

 

 

 

 

 

The past two years were incredibly productive and prolific years for the critically applauded and rewound bassist, vocalist and JOVM mainstay  Stephen “Thundercat” Bruner as he made guest appearances on two critically and commercially successful albums — Kendrick Lamar‘s Grammy Award-winning album, To Pimp A Butterfly and  Brainfeeder Records labelmate, Kamasi Washington’s The Epic, as well as one of 2015’s best albums, The Beyond/Where the Giants Roam, which further cemented his reputation as a dexterous and playful bassist and songwriter, with material that sonically channeled Stevie Wonder’s incredible 70s output, as it possessed a retro-futuristic sound as wobbling and propulsive bass lines were paired with arpeggio synths and Bruner’s sultry and plaintive falsetto.

Now, as you may remember last year, I wrote about “Bus In These Streets,” the first bit of music from the renowned bassist and vocalist in over a year, and the single was a comedic and playful ode to our reliance and dependence on technology in which Thundercat’s dexterous and sinuous bass lines with Louis Cole (keys, drums and programming) contributing shimmering and twinkling keys and propulsive drum programming and frequent collaborator Flying Lotus contributing more programming and editing in a song that evokes a dreamy, distracted  self-absorption as the song’s narrator spends their time staring at their smartphone, not noticing the world pass him by — or the inherent danger he might be walking into as he stupidly stares into his phone.

Bruner’s third, full-length effort Drunk is slated for a February 24, 2017 release through Brainfeeder and the album will be an epic 23 track journey into the bizarre, hilarious and sometimes dark mind of the singer/songwriter and bassist — and the effort finds him collaborating with an All-Star list of collaborators including frequent collaborators and friends Kamasi Washington (a Brainfeeder labelmate), Kendrick Lamar, Wiz Khalifa and Pharrell Williams, along with Michael McDonald and Kenny Loggins. While the album will feature fan favorites “Bus In These Streets” and “Them Changes,” one of my favorite tracks off The Beyond/Where The Giants RoamDrunk‘s first single “Show You The Way” is a sleek and soulful jazzy  track in which shimmering arpeggio cascades of synths, stuttering drums, Bruner’s imitable bass lines are paired in an incredible collaboration that features Bruner’s sultry falsetto with the imitable vocals of Kenny Loggins and Micheal McDonald. Sonically speaking the song is an uncanny synthesis of Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near)” and Bruner’s signature funky, retro-futuristic jazz fusion.

So how did such a high-powered collaboration come about? Thundercat has publicly mentioned his love of Loggins and his work during interviews to promote both The Beyond and the tour for the album — and it lead to his keyboardist Dennis Hamm introducing Bruner to Loggins. According to both Bruner and Hamm, Loggins then suggested bringing in Michael McDonald on the track. And as Bruner adds in press notes “I think one of the most beautiful moments of it was realizing how amazing Michael McDonald was. He would go through so many ideas and have so much to offer.” As for the song, Bruner says “That song to me is about going down the rabbit hole, taking you to another place . . . On the edge of dark, there’s the brightest light. It means a lot to me in the sense of . . .the experience that I’ve had growing up with friends and people that I’ve been around where it’s inventing them into where I come from emotionally. Sometimes it’s a pretty intense thing. The point is how weird things can get. ”

 

 

 

Last year was a rather productive and prolific year for critically applauded bassist and vocalist, Stephen “Thundercat” Bruner, as he made guest appearances on two of the the year’s most critically and commercially successful albums — Kendrick Lamar‘s Grammy Award-winning album, To Pimp A Butterfly and  Brainfeeder Records labelmate, Kamasi Washington’s The Epic. Bruner also released what was arguably one of the best albums of 2015 The Beyond/Where the Giants Roam, which further cemented his reputation as a dexterous and playful bassist and songwriter, with material that sonically channeled Stevie Wonder’s incredible 70s output — or in other words it possessed a retro-futuristic leaning that made it all sound as though it came from straight from a rusty spaceship that’s traveled several hundred lightyears across the universe. In fact, if you had been frequenting this site over the past year, you might remember that I wrote about the wobbling and propulsive bass and arpeggio synth-led single “Them Changes” and its incredibly symbolic and surreal video, which emphasized the devastating heartache at the core of the song.

“Bus In These Streets” is the first bit of new music from Thundercat since the release of The Beyond/Where the Giants Roam and the single, which is a comedic and playful ode to both our reliance and dependence on technology — and the track has Thundercat pairing his dexterous and sinuous bass lines and his ethereal crooning with Louis Cole (keys, drums and programming) playing shimmering and twinkling keys, propulsive drumming and drum programming and Flying Lotus contributing more programming and editing in a song that evokes a dreamy, distracted  self-absorption as the song’s narrator spends their time staring at their smartphone, not noticing the world pass him by — or the inherent danger he might be walking into as he stupidly stares into his phone. Certainly, it’s one of Thundercat’s most playful yet cinematic songs he’s released to date, and every time I’ve heard it, I’ve thought about how it would be perfect in a It’s a Mad, Mad, Mad, Mad World-like comic ensemble film.

 

 

You can catch Thundercat as he’s playing several tour dates including a set at this year’s Afropunk Festival. Check out the tour dates below.

TOUR DATES

Aug 27 Brooklyn, NY – Afropunk Fest

Sep 10 London, UK – OnBlackheath Festival

Sep 15 Oakland, CA – Brainfeeder at Fox Theatre*

Sep 16 Oakland, CA – Brainfeeder at Fox Theatre (sold out)*

Sep 17 Los Angeles, CA – Brainfeeder at Hollywood Bowl*

 

*with Flying Lotus, Funkadelic featuring George Clinton, Shabazz Palaces & The Gaslamp Killer