Tunde Adebimpe – ‘Thee Black Boltz’ album review: an indie icon’s bold return to the spotlight
THE SKINNY: As the frontman and one of the primary songwriters in the beloved Brooklyn indie band, TV on the Radio, Tunde Adebimpe was always a character who seemed capable of morphing from one persona and mood into another over the course of an album. While many consider this element of the band to be down to every member’s far-reaching set of influences, it’s clear that Adebimpe is intent on demonstrating that he can operate in all of these styles and more on his solo debut, Thee Black Boltz.
While TV on the Radio have been absent since 2014’s Seeds, they’ve recently announced a return to touring that could potentially develop into another studio effort. For Adebimpe to go solo at the same time is suggestive of a completely renewed sense of inspiration – a rejuvenation that has led to a glut of ideas coming at once. Thee Black Boltz certainly has plenty of ideas to offer, but not every one of them is executed with as much panache as the one before.
What you can’t fault Adebimpe for doing across this record is having a blast. It feels as though every track on the record is one that he put his utmost enthusiasm into making, it’s just that some of the forays into mimicking modern styles don’t feel as convincing in their ability to deliver. When you’ve not released music for 11 years, it’s understandable that your finger might be slightly off the pulse, and attempts to catch up rather than sticking to what he’s always succeeded at are where the album ultimately falls short.
That being said, the album’s highlights show a verve in Adebimpe that is determined to show that he’s still a figure worthy of being discussed in the same breath as some of the other indie darlings from the mid-2000s that have either re-entered the spotlight or remained active. However, for the most part, he isn’t trying too hard to eclipse the likes of Panda Bear or LCD Soundsystem, but he clearly just shows that he’s got plenty still to offer, and he seems incredibly content in doing so.
For fans of: Feeling nostalgic for an era that was actually not that long ago.
A concluding comment from the editor of a music blog that existed between 2007 and 2012, slowly waking from their indie-deprived coma: “We are so back, baby.”
Thee Black Boltz track by track:
Release Date: April 18th | Producer: Tunde Adebimpe & Wilder Zoby | Label: Sub Pop
‘Thee Black Boltz’: A haunting, disjointed spoken word intro delivered over radio static brings us into the surreal and gnarly world of Thee Black Boltz. There’s not much more to it than that, but it delivers a vibe that the rest of the album continues with. [n/a]
‘Magnetic’: The lead single from the record is an urgent, electro-punk rager that is reminiscent of Return to Cookie Mountain era TVOTR. Adebimpe’s vocals are just as versatile and elastic as they always were in the past, ranging from soulful to the belting chorus. [4.5/5]
‘Ate The Moon’: We’ve got another industrial punk track on our hands, and while it doesn’t have as much drawing the listener in as ‘Magnetic’ does, its minimalist approach in the verses and occasional explosions of synthesised guitars help bring it some colour, character and contrast. [4/5]
‘Pinstack’: This one suggests that it’s going to become a gnarly and fucked up funk track judging by the early distorted bass riff, but there are some touches of 1960s girl group vocal melodies and production flourishes. It’s unusual that all three songs have avoided any dramatic changes for the chorus, but they’ve all been stellar nonetheless. [4.5/5]
‘Drop’: A bit of an underwhelming dip into dancy, off-kilter indie rock that relies too much on atmospheric production and doesn’t have enough of a hook for it to be as arresting as the other moments we’ve already heard. TV on the Radio often knew how to strike this stylistic balance on their records, but this is a touch below par. [3/5]
‘ILY’: The hushed baritone vocals that saunter over the top of the rapid guitar picking suggest we’re going to get a glorious foray into folk balladry, but once again, the production touches let the track down, as do the trite and clichéd lyrics. [2.5/5]
‘The Most’: Adebimpe proves on the following track that he can convey tender sentiments without hackneyed and overused metaphors, and the bounciness of the ‘80s synths is a great return of the creative playfulness that he’s always had. The unexpected near-diversion into dancehall partway through might catch you off guard, but just let yourself go along with it and you’ll realise it’s all part of the charm. [4/5]
‘God Knows’: This is about as back-to-basics as the album gets, but you shouldn’t complain when the basics are done well and can be delivered in all the right ways. The alt-country slide guitar playing is a feature I didn’t think I’d be getting at any point when I turned this album on, but it’s a great touch. [3.5/5]
‘Blue’: Here we have a prime example of how Adebimpe can utilise electronics and processed beats in order to bolster a track rather than as an unnecessary ornament. There’s a sinister undertone in the melody that he weaves over the rumbling bassline, and it’s a far more captivating voyage in this direction. [4/5]
‘Somebody New’: You want a synth-pop banger now? Sure, have one. There’s an undeniable catchiness to the track, but for some reason, I also can’t help but feel like this is the sort of song that gets played in the club during an episode of Made in Chelsea. [3.5/5]
‘Streetlight Nuevo’: Much like the comments for ‘Blue’, this is a great example of how the beats can still play a part in Adebimpe’s music without feeling the need to adapt to contemporary styles. He’s always been a forward-thinking artist in his own right, and even when left to his own devices, he’s capable of proving that. [4/5]
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