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“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on [date TK]. “We wanted to make a bold statement – it’s not shy, but a beast unto itself.” “It’s over the top, but in a good way,” adds charismatic Heavy frontman Kelvin Swaby. “With this record, we went pretty cinematic: we basically set out to score a film that hasn’t been written.” 

Indeed, The Glorious Dead proves singular: Frankensteining everything from swampy voodoo and b-movie zombies with garage-rock guitars and Gospel-soaked soul, it becomes a whole other creature feature unlike anything else you’ll hear this year. The Glorious Dead isn’t just The Heavy’s third full-length: it’s also the group’s most ambitious effort, traveling sonically from the group’s South England home to America’s deep South, and beyond. It’s also building off momentum from The Heavy’s greatest success, the international smash single “How You Like Me Now?,” off the band’s acclaimed previous album, 2009’s The House That Dirt Built. An infectious anthem of hard-rocking maximum R&B, “How You Like Me Now?” exploded upon release: it became the first song David Letterman’s ever requested an encore for when The Heavy played it on his “Late Show,” and has appeared everywhere from “Entourage” episodes, Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted. “How You Like Me Now?” continues to enthrall: on the recent climax of the 2012 season of NBC’s hit show “The Voice,” Adam Levine’s team contestant Tony Lucca performed the song to massive acclaim. “That was surreal,” says Taylor. “It’s taken on legs of its own. I can’t complain, but I wouldn’t want to be known for one song – it’s not our peak.” “It’s such a big tune, people ask, ‘How are you going to top that?’,” Swaby adds. “But we’re not going to lie down and play dead.” 

As such, The Glorious Dead rockets out of the grave with supernatural force. Alternately haunting and relentless, album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials. It’s followed by “Curse Me Good,” which provides a jarring contrast with its sweet whistled hook, George Harrison-meets-T.Rex acoustic strum, and a heartbreaking soul vocal from Swaby. “It’s good to have a bit of light and shade amid the onslaught of heavy guitars,” Taylor explains. “I find we’re always trying to recreate the diversity of, say, The White Album, but with beats.” Likewise, “Big Bad Wolf” combines primal howling à la Screamin’ Jay Hawkins, funkdafied breakbeats, and eerie electronics that recall Luniz’ stoned rap classic “I Got 5 On It.” “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “It’s integral to make everything sound like samples from our record collection, but with a modern edge. We’re not afraid to use technology, and everything needs to have that tight, heavyweight bottom end.” 

Epitomizing this all-inclusive strategy is The Glorious Dead’s centerpiece breakthrough track, “What Makes A Good Man?” Defiant yet uplifting, “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group call-and-response vocals and soaring, epic strings. Its creation provided the spark that would prove crucial to the album’s inception. Looking to soak up some Southern Gothic inspiration, The Heavy traveled far from their hometown near Bath, England all the way to Columbus, Georgia on the advice of their U.S. tour-bus driver, Sam Phillips. There, Phillips hooked the group up with a number of church-trained singers and players: they would take Swaby and Taylor’s song ideas to another realm, like singer/keyboardist Lloyd Buchanan’s intense contribution to “…Good Man?” “We had the beat and the chorus for ‘Good Man,’ and when Lloyd started jamming on the B-3 and singing on it, I was like, ‘This is going to be insane,’” Swaby says. “The Gospel singers started doing the chorus they already knew they song – they made it sound like the Supremes or Ronettes. It was an incredible feeling: after that, we were on our merry way.” Taking the material to yet another level was the contribution of Gabriel “Bosco Mann” Roth, Daptone Records co-founder and bandleader of Sharon Jones & the Dap-Kings, with whom The Heavy had toured extensively. Roth ended up scoring innovative string and horn parts to four of The Glorious Dead’s ten songs. “It doesn’t sound like what Gabriel does with the Dap-Kings,” Taylor says. “He got into the mindset to do something different.” “He’s such a talented entity,” Swaby continues. “I couldn’t believe what was coming out of the speakers. It was so fitting, with this vintage sound, and amazing beauty. It reminded me of these black-and-white films I used to watch as a kid.” 

Film loomed as large an influence on The Glorious Dead as music. As key inspirations, Taylor cites the tweaked Americana of Jim Jarmusch’s Down By Law and the voodoo vibes of the James Bond classic Live and Let Die alongside ‘60s Mod rave-ups and the atmospheric Brit multiculturalism of Fun Boy Three and The Specials; Swaby, meanwhile, explored low-budget horror flicks alongside the controlled screaming of garage-rockers The Sonics, Tom Waits’ elastic growl, and soul giants Al Green and Otis Redding. Starting in January 2011, Taylor, Swaby, and bandmates Spencer Page (bass) and Chris Ellul (drums) began combining these ingredients into their own idiosyncratic blend – a process launched by The Heavy building their own studio and choosing to produce The Glorious Dead themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing the vision we had,” Taylor says. “Your third record is judged as to whether you’re there to stay, or slide off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.” 

The Glorious Dead spawned the mighty lead single 'What Makes a Good Man?' a funk-ridden, soul-wrenching study of a deep spiritual question. What Makes A Good Man? has been featured in trailers for HBO, Lawless, Borderlands 2 and Elementary, and the band gave TV performances on The Late Show with David Letterman, Last Call With Carson Daly and The Late Late Show With Craig Ferguson. 

Since the dawn of 'The Glorious Dead,' The Heavy have done anything other than rest on their laurels. 2013 has seen them reprise their smash hit 'How You Like Me Now?' for ESPN's Draft Week. The song was reworked to feature a guest verse from none other than 50 Cent, who happily enveloped himself in The Heavy's swamp-funk, and even performed in a brand new video. Since then, the song has gone on to reach Gold status in the USA, a stunning success from a British band on a label as independent as they are. 

The Heavy came back to the US to perform at Spike TV's Guys Choice Awards as the house band in June 2013. Touring in 2013 has so far been a SOLD OUT UK Tour, an EU Tour in May, plus USA and Canadian dates in June and August, with another EU/UK Tour booked for the end of the year. Festival highlights this summer include Ottawa Jazz Festival, Rock-A-Field in Luxembourg, Hove in Norway, T In The Park in Scotland, Glastonbury and WOMAD in England, Osheaga in Montreal, Outside Lands in San Francisco and Afropunk in New York. 

To date, this true original of a band have sold 750,000 singles and over 150,000 albums. Long live The Heavy

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[image_upload_id] => 16903 [label_id] => 5 [twitter_username] => theheavy [instagram_id] => 217232350 [instagram_username] => theheavy [link] => [listed] => 1 [sortname] => Heavy [created] => 2010-07-17 22:15:59 [modified] => 2013-06-26 15:50:37 [slug] => the-heavy [fuga_id] => [description_clean] =>

“What the hell were we thinking?,” exclaims Dan Taylor, guitarist for U.K. indie soul-rock titans The Heavy, of the band’s audacious new album, The Glorious Dead, to be released on Counter/Ninja Tune on [date TK]. “We wanted to make a bold statement – it’s not shy, but a beast unto itself.” “It’s over the top, but in a good way,” adds charismatic Heavy frontman Kelvin Swaby. “With this record, we went pretty cinematic: we basically set out to score a film that hasn’t been written.” 

Indeed, The Glorious Dead proves singular: Frankensteining everything from swampy voodoo and b-movie zombies with garage-rock guitars and Gospel-soaked soul, it becomes a whole other creature feature unlike anything else you’ll hear this year. The Glorious Dead isn’t just The Heavy’s third full-length: it’s also the group’s most ambitious effort, traveling sonically from the group’s South England home to America’s deep South, and beyond. It’s also building off momentum from The Heavy’s greatest success, the international smash single “How You Like Me Now?,” off the band’s acclaimed previous album, 2009’s The House That Dirt Built. An infectious anthem of hard-rocking maximum R&B, “How You Like Me Now?” exploded upon release: it became the first song David Letterman’s ever requested an encore for when The Heavy played it on his “Late Show,” and has appeared everywhere from “Entourage” episodes, Academy Award-nominated film The Fighter, and the trailer for the new Mark Wahlberg comedy Ted. “How You Like Me Now?” continues to enthrall: on the recent climax of the 2012 season of NBC’s hit show “The Voice,” Adam Levine’s team contestant Tony Lucca performed the song to massive acclaim. “That was surreal,” says Taylor. “It’s taken on legs of its own. I can’t complain, but I wouldn’t want to be known for one song – it’s not our peak.” “It’s such a big tune, people ask, ‘How are you going to top that?’,” Swaby adds. “But we’re not going to lie down and play dead.” 

As such, The Glorious Dead rockets out of the grave with supernatural force. Alternately haunting and relentless, album opener “Can’t Play Dead” thunders as if Jack White remixed “Ghost Town” by The Specials. It’s followed by “Curse Me Good,” which provides a jarring contrast with its sweet whistled hook, George Harrison-meets-T.Rex acoustic strum, and a heartbreaking soul vocal from Swaby. “It’s good to have a bit of light and shade amid the onslaught of heavy guitars,” Taylor explains. “I find we’re always trying to recreate the diversity of, say, The White Album, but with beats.” Likewise, “Big Bad Wolf” combines primal howling à la Screamin’ Jay Hawkins, funkdafied breakbeats, and eerie electronics that recall Luniz’ stoned rap classic “I Got 5 On It.” “Think vintage, but keep it contemporary – that’s our approach,” Swaby explains. “It’s integral to make everything sound like samples from our record collection, but with a modern edge. We’re not afraid to use technology, and everything needs to have that tight, heavyweight bottom end.” 

Epitomizing this all-inclusive strategy is The Glorious Dead’s centerpiece breakthrough track, “What Makes A Good Man?” Defiant yet uplifting, “What Makes A Good Man?” contrasts Swaby’s gritty soul searching with girl-group call-and-response vocals and soaring, epic strings. Its creation provided the spark that would prove crucial to the album’s inception. Looking to soak up some Southern Gothic inspiration, The Heavy traveled far from their hometown near Bath, England all the way to Columbus, Georgia on the advice of their U.S. tour-bus driver, Sam Phillips. There, Phillips hooked the group up with a number of church-trained singers and players: they would take Swaby and Taylor’s song ideas to another realm, like singer/keyboardist Lloyd Buchanan’s intense contribution to “…Good Man?” “We had the beat and the chorus for ‘Good Man,’ and when Lloyd started jamming on the B-3 and singing on it, I was like, ‘This is going to be insane,’” Swaby says. “The Gospel singers started doing the chorus they already knew they song – they made it sound like the Supremes or Ronettes. It was an incredible feeling: after that, we were on our merry way.” Taking the material to yet another level was the contribution of Gabriel “Bosco Mann” Roth, Daptone Records co-founder and bandleader of Sharon Jones & the Dap-Kings, with whom The Heavy had toured extensively. Roth ended up scoring innovative string and horn parts to four of The Glorious Dead’s ten songs. “It doesn’t sound like what Gabriel does with the Dap-Kings,” Taylor says. “He got into the mindset to do something different.” “He’s such a talented entity,” Swaby continues. “I couldn’t believe what was coming out of the speakers. It was so fitting, with this vintage sound, and amazing beauty. It reminded me of these black-and-white films I used to watch as a kid.” 

Film loomed as large an influence on The Glorious Dead as music. As key inspirations, Taylor cites the tweaked Americana of Jim Jarmusch’s Down By Law and the voodoo vibes of the James Bond classic Live and Let Die alongside ‘60s Mod rave-ups and the atmospheric Brit multiculturalism of Fun Boy Three and The Specials; Swaby, meanwhile, explored low-budget horror flicks alongside the controlled screaming of garage-rockers The Sonics, Tom Waits’ elastic growl, and soul giants Al Green and Otis Redding. Starting in January 2011, Taylor, Swaby, and bandmates Spencer Page (bass) and Chris Ellul (drums) began combining these ingredients into their own idiosyncratic blend – a process launched by The Heavy building their own studio and choosing to produce The Glorious Dead themselves. To mix the results, the band first worked with longtime associate Jim Abbiss (Adele, Arctic Monkeys) at Peter Gabriel’s famed Real World complex, then finished up with Paul Corkett (The Cure, Nick Cave, Björk). “Self-producing was all about being self-sufficient in realizing the vision we had,” Taylor says. “Your third record is judged as to whether you’re there to stay, or slide off the face of the earth. We want to stick around, so we took our balls out and went for it.” “I love what we’ve done,” adds Swaby. “We got our deadpan heartbreak down. This record suggests how we continue to walk among the dead – now just in a few more places, and with more of a swagger.” 

The Glorious Dead spawned the mighty lead single 'What Makes a Good Man?' a funk-ridden, soul-wrenching study of a deep spiritual question. What Makes A Good Man? has been featured in trailers for HBO, Lawless, Borderlands 2 and Elementary, and the band gave TV performances on The Late Show with David Letterman, Last Call With Carson Daly and The Late Late Show With Craig Ferguson. 

Since the dawn of 'The Glorious Dead,' The Heavy have done anything other than rest on their laurels. 2013 has seen them reprise their smash hit 'How You Like Me Now?' for ESPN's Draft Week. The song was reworked to feature a guest verse from none other than 50 Cent, who happily enveloped himself in The Heavy's swamp-funk, and even performed in a brand new video. Since then, the song has gone on to reach Gold status in the USA, a stunning success from a British band on a label as independent as they are. 

The Heavy came back to the US to perform at Spike TV's Guys Choice Awards as the house band in June 2013. Touring in 2013 has so far been a SOLD OUT UK Tour, an EU Tour in May, plus USA and Canadian dates in June and August, with another EU/UK Tour booked for the end of the year. Festival highlights this summer include Ottawa Jazz Festival, Rock-A-Field in Luxembourg, Hove in Norway, T In The Park in Scotland, Glastonbury and WOMAD in England, Osheaga in Montreal, Outside Lands in San Francisco and Afropunk in New York. 

To date, this true original of a band have sold 750,000 singles and over 150,000 albums. Long live The Heavy

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) ) ) [1] => Array ( [Event] => Array ( [id] => 11427 [date] => 2013-05-12 [artist] => Thundercat and Teebs [city] => Boston [state] => MA [country] => US [venue] => Paradise Rock Club [promoter] => [description] => [ticket_url] => http://www.ticketmaster.com/event/01004A6BD7D9BF4F?c=rmk-lnneweng_web_flyinglotus_dise_031513 [image_upload_id] => 17981 [created] => 2013-04-17 10:52:22 [modified] => 2013-04-17 11:08:43 [year_slug] => 2013 [month_slug] => may [day_slug] => 12 [slug] => thundercat-and-teebs-boston-paradise-rock-club [description_clean] => [products_count] => 0 [hidden] => 0 ) [Image] => Array ( [id] => 17981 [media_type] => image [artist] => Thundercat [title] => Thundercat - Press Shot 2013 [credits] => [buy_link] => [filename] => images/thundercat/Thundercat-press-shot.jpg [checksum] => 7a68dae77b1b7ef464d72dcb891d2822 [mime_type] => image/jpeg [size] => 40090 [external_url] => http://media.ninjatune.net/images/thundercat/Thundercat-press-shot.jpg [image_upload_id] => [first_track_id] => [first_release_id] => [listed] => 0 [active] => 1 [processed] => 1 [artist_slug] => thundercat [slug] => thundercat-press-shot-2013 [created] => 2013-04-16 15:58:02 [modified] => 2013-04-16 15:58:25 [embed] => ) [Country] => Array ( [id] => 122 [name] => United States [longname] => United States of America [numcode] => 840 [iso] => US [iso3] => USA [currency] => USD [active] => 1 [parent_id] => 117 [lft] => 241 [rght] => 242 [level] => 2 ) [Product] => Array ( ) [Artist] => Array ( [0] => Array ( [id] => 151 [name] => Thundercat [description] =>

Bassist/songwriter/vocalist Stephen Bruner, aka Thundercat, has music deeply rooted within. His father, Ronald Bruner, Sr., is an internationally renowned jazz drummer who played with the Temptations, Diana Ross, Gary Bartz and Gladys Knight. His brother Ronald Bruner, Jr., a Grammy-winning drummer, has played with the likes of Roy Hargrove, Stanley Clarke, and Wayne Shorter. Stephen joined his brother as a member of West Coast punk vets Suicidal Tendencies, playing bass on their worldwide tours while still in high school. He also toured through Japan with Stanley Clarke at the age of 16.

As Thundercat, Bruner takes his jazz roots and works with a mix of artists that suit his wildly experimental sensibilities - ranging from Flying Lotus, Erykah Badu, and Stanley Clarke, as well as more recent collaborations with Wiz Khalifa and Earl Sweatshirt, to name but a few. After meeting and touring with Flying Lotus, the two artists collaborated on Lotus’ 2010 LP Cosmogramma on the track "MmmHmm." Their kindred sense of musicality led to Thundercat’s 2011 solo debut The Golden Age of Apocalypse, co-produced by Flying Lotus, which opened Bruner up to a new stratosphere of songwriting and artistic exploration.

In 2013, Thundercat teamed up with executive producer Flying Lotus once again, to form a profound body of work for his second album, Apocalypse.’ Forthcoming on Lotus’ Brainfeeder imprint this July, the album straddles lines and pushes genres further, blurring the confines of pop, funk, electronica and prog rock, and creating something else entirely. Both vulnerable and fearless, a comedy and tragedy, Apocalypse is an intimate portrait of an artist who will continue to take music to a new place; the beyond.

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[image_upload_id] => 17981 [label_id] => 7 [twitter_username] => Thundercatbass [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Thundercat [created] => 2011-06-20 09:01:58 [modified] => 2013-07-19 16:04:39 [slug] => thundercat [fuga_id] => [description_clean] =>

Bassist/songwriter/vocalist Stephen Bruner, aka Thundercat, has music deeply rooted within. His father, Ronald Bruner, Sr., is an internationally renowned jazz drummer who played with the Temptations, Diana Ross, Gary Bartz and Gladys Knight. His brother Ronald Bruner, Jr., a Grammy-winning drummer, has played with the likes of Roy Hargrove, Stanley Clarke, and Wayne Shorter. Stephen joined his brother as a member of West Coast punk vets Suicidal Tendencies, playing bass on their worldwide tours while still in high school. He also toured through Japan with Stanley Clarke at the age of 16.

As Thundercat, Bruner takes his jazz roots and works with a mix of artists that suit his wildly experimental sensibilities - ranging from Flying Lotus, Erykah Badu, and Stanley Clarke, as well as more recent collaborations with Wiz Khalifa and Earl Sweatshirt, to name but a few. After meeting and touring with Flying Lotus, the two artists collaborated on Lotus’ 2010 LP Cosmogramma on the track "MmmHmm." Their kindred sense of musicality led to Thundercat’s 2011 solo debut The Golden Age of Apocalypse, co-produced by Flying Lotus, which opened Bruner up to a new stratosphere of songwriting and artistic exploration.

In 2013, Thundercat teamed up with executive producer Flying Lotus once again, to form a profound body of work for his second album, Apocalypse.’ Forthcoming on Lotus Brainfeeder imprint this July, the album straddles lines and pushes genres further, blurring the confines of pop, funk, electronica and prog rock, and creating something else entirely. Both vulnerable and fearless, a comedy and tragedy, Apocalypse is an intimate portrait of an artist who will continue to take music to a new place; the beyond.

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Twitter

) [1] => Array ( [id] => 133 [name] => Teebs [description] =>

Photo by Theo Jemison

Hypnotic. Warm. Organic. Tumbling. Pastoral. Ramshackle. Blissful. Expansive.

These are just some of the words that have been used to describe the work of Mtendere Mandowa, better known as Teebs.

A producer, a painter, and a key member of Brainfeeder clan, recent years have seen Teebs surge toward the top of the so-called "beat scene", and though his affiliation with Flying Lotus certainly has something to do with his ascent, it's ultimately the music - a billowing brand of beautifully off-kilter, hip-hop-colored beat construction - that has set Mandowa apart from what has become an increasingly crowded field of like-mind producers.

Teebs now makes his home in Northeast Los Angeles, but the 26-year-old producer wasn't always an Angeleno. Born in the Bronx, Mandowa's childhood also included time spent in Georgia and Hartford, Connecticut before his family switched coasts, stopping in Monterey Park, California before settling into the cozy LA suburb of Chino Hills. It was there that Teebs first truly took shape as an artist; he began painting in 2005 and started making music shortly thereafter, both by himself and as part of a collective known as My Hollow Drum.

It didn't take long for people to take notice. Around this time, Teebs linked up with online radio stronghold Dublab, and quickly saw his network increase exponentially. In 2008, he was invited to come to Barcelona and participate in that year's edition of the annual Red Bull Music Academy. This prompted fellow RBMA alum Flying Lotus to look him up; the two actually met at the now-legendary Low End Theory party in Los Angeles, and within six months, Teebs was living in the same apartment complex as FlyLo and sharing a spot with fellow LA beatmaker Samiyam. Watching those two work fueled his own creative impulses, and he began assembling what would eventually become Ardour, his first full-length album.

Ardour may have properly put Teebs on the electronic music map, but the somber release - the LP was partially inspired by the death of his father, which took place in the middle of the record's genesis - was just one of his many noteworthy efforts. He teamed up with fellow LA beatmakers Daedelus and Jeremiah Jae for split releases; he collaborated with UK producer Jackhigh (who now goes by BNJMN) on an intriguing EP called The Tropics and later joined forces with leftfield beat pioneer Prefuse 73 for the Sons of the Morning project and the Speak Soon, Volume One EP; Brainfeeder offered up the explorative and vaguely defined Collections mini-album; and the label arm of My Hollow Drum dropped limited runs of both Ardour B-Sides and the Cecilia Tapes Collection, the later of which collected music pieces that originally soundtracked one of Teebs' art exhibitions. He's also been busy on the road, frequently touring the globe, often in the company of his fellow Brainfeeder affiliates.

Despite all of this activity, on a personal level, the last couple of years have been a time of relative calm for Teebs. It was during this time that he put together E s t a r a, his second proper full-length. As opposed to the turmoil that accompanied the creation of Ardour, his new album is an effort inspired by his life as it stands now, and represents a time when Teebs has finally been able to make music completely on his own terms. The record takes its name from the house where much of the music was created, and it finds Teebs filling his sonic canvasses with the same kind of lush, textured sounds he's always used; the key difference is that he's now operating with a renewed sense of purpose and a streamlined musical narrative. The techniques haven't changed, but Teebs' mastery of them certainly has. In short, he's grown as an artist, and continues to confidently forge his own path forward. 

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[image_upload_id] => 19016 [label_id] => 7 [twitter_username] => teebsio [instagram_id] => 3173632 [instagram_username] => teebsio [link] => [listed] => 0 [sortname] => Teebs [created] => 2010-11-05 16:40:14 [modified] => 2014-02-06 23:18:29 [slug] => teebs [fuga_id] => [description_clean] =>

Photo by Theo Jemison

Hypnotic. Warm. Organic. Tumbling. Pastoral. Ramshackle. Blissful. Expansive.

These are just some of the words that have been used to describe the work of Mtendere Mandowa, better known as Teebs.

A producer, a painter, and a key member of Brainfeeder clan, recent years have seen Teebs surge toward the top of the so-called "beat scene", and though his affiliation with Flying Lotus certainly has something to do with his ascent, it's ultimately the music - a billowing brand of beautifully off-kilter, hip-hop-colored beat construction - that has set Mandowa apart from what has become an increasingly crowded field of like-mind producers.

Teebs now makes his home in Northeast Los Angeles, but the 26-year-old producer wasn't always an Angeleno. Born in the Bronx, Mandowa's childhood also included time spent in Georgia and Hartford, Connecticut before his family switched coasts, stopping in Monterey Park, California before settling into the cozy LA suburb of Chino Hills. It was there that Teebs first truly took shape as an artist; he began painting in 2005 and started making music shortly thereafter, both by himself and as part of a collective known as My Hollow Drum.

It didn't take long for people to take notice. Around this time, Teebs linked up with online radio stronghold Dublab, and quickly saw his network increase exponentially. In 2008, he was invited to come to Barcelona and participate in that year's edition of the annual Red Bull Music Academy. This prompted fellow RBMA alum Flying Lotus to look him up; the two actually met at the now-legendary Low End Theory party in Los Angeles, and within six months, Teebs was living in the same apartment complex as FlyLo and sharing a spot with fellow LA beatmaker Samiyam. Watching those two work fueled his own creative impulses, and he began assembling what would eventually become Ardour, his first full-length album.

Ardour may have properly put Teebs on the electronic music map, but the somber release - the LP was partially inspired by the death of his father, which took place in the middle of the record's genesis - was just one of his many noteworthy efforts. He teamed up with fellow LA beatmakers Daedelus and Jeremiah Jae for split releases; he collaborated with UK producer Jackhigh (who now goes by BNJMN) on an intriguing EP called The Tropics and later joined forces with leftfield beat pioneer Prefuse 73 for the Sons of the Morning project and the Speak Soon, Volume One EP; Brainfeeder offered up the explorative and vaguely defined Collections mini-album; and the label arm of My Hollow Drum dropped limited runs of both Ardour B-Sides and the Cecilia Tapes Collection, the later of which collected music pieces that originally soundtracked one of Teebs' art exhibitions. He's also been busy on the road, frequently touring the globe, often in the company of his fellow Brainfeeder affiliates.

Despite all of this activity, on a personal level, the last couple of years have been a time of relative calm for Teebs. It was during this time that he put together E s t a r a, his second proper full-length. As opposed to the turmoil that accompanied the creation of Ardour, his new album is an effort inspired by his life as it stands now, and represents a time when Teebs has finally been able to make music completely on his own terms. The record takes its name from the house where much of the music was created, and it finds Teebs filling his sonic canvasses with the same kind of lush, textured sounds he's always used; the key difference is that he's now operating with a renewed sense of purpose and a streamlined musical narrative. The techniques haven't changed, but Teebs' mastery of them certainly has. In short, he's grown as an artist, and continues to confidently forge his own path forward. 

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Bassist/songwriter/vocalist Stephen Bruner, aka Thundercat, has music deeply rooted within. His father, Ronald Bruner, Sr., is an internationally renowned jazz drummer who played with the Temptations, Diana Ross, Gary Bartz and Gladys Knight. His brother Ronald Bruner, Jr., a Grammy-winning drummer, has played with the likes of Roy Hargrove, Stanley Clarke, and Wayne Shorter. Stephen joined his brother as a member of West Coast punk vets Suicidal Tendencies, playing bass on their worldwide tours while still in high school. He also toured through Japan with Stanley Clarke at the age of 16.

As Thundercat, Bruner takes his jazz roots and works with a mix of artists that suit his wildly experimental sensibilities - ranging from Flying Lotus, Erykah Badu, and Stanley Clarke, as well as more recent collaborations with Wiz Khalifa and Earl Sweatshirt, to name but a few. After meeting and touring with Flying Lotus, the two artists collaborated on Lotus’ 2010 LP Cosmogramma on the track "MmmHmm." Their kindred sense of musicality led to Thundercat’s 2011 solo debut The Golden Age of Apocalypse, co-produced by Flying Lotus, which opened Bruner up to a new stratosphere of songwriting and artistic exploration.

In 2013, Thundercat teamed up with executive producer Flying Lotus once again, to form a profound body of work for his second album, Apocalypse.’ Forthcoming on Lotus’ Brainfeeder imprint this July, the album straddles lines and pushes genres further, blurring the confines of pop, funk, electronica and prog rock, and creating something else entirely. Both vulnerable and fearless, a comedy and tragedy, Apocalypse is an intimate portrait of an artist who will continue to take music to a new place; the beyond.

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Bassist/songwriter/vocalist Stephen Bruner, aka Thundercat, has music deeply rooted within. His father, Ronald Bruner, Sr., is an internationally renowned jazz drummer who played with the Temptations, Diana Ross, Gary Bartz and Gladys Knight. His brother Ronald Bruner, Jr., a Grammy-winning drummer, has played with the likes of Roy Hargrove, Stanley Clarke, and Wayne Shorter. Stephen joined his brother as a member of West Coast punk vets Suicidal Tendencies, playing bass on their worldwide tours while still in high school. He also toured through Japan with Stanley Clarke at the age of 16.

As Thundercat, Bruner takes his jazz roots and works with a mix of artists that suit his wildly experimental sensibilities - ranging from Flying Lotus, Erykah Badu, and Stanley Clarke, as well as more recent collaborations with Wiz Khalifa and Earl Sweatshirt, to name but a few. After meeting and touring with Flying Lotus, the two artists collaborated on Lotus’ 2010 LP Cosmogramma on the track "MmmHmm." Their kindred sense of musicality led to Thundercat’s 2011 solo debut The Golden Age of Apocalypse, co-produced by Flying Lotus, which opened Bruner up to a new stratosphere of songwriting and artistic exploration.

In 2013, Thundercat teamed up with executive producer Flying Lotus once again, to form a profound body of work for his second album, Apocalypse.’ Forthcoming on Lotus Brainfeeder imprint this July, the album straddles lines and pushes genres further, blurring the confines of pop, funk, electronica and prog rock, and creating something else entirely. Both vulnerable and fearless, a comedy and tragedy, Apocalypse is an intimate portrait of an artist who will continue to take music to a new place; the beyond.

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