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Apr 18/2016
WORDS Roland Pemberton PHOTOGRAPHY Neil Mota

Thundercat is everywhere. If you have even a passing interest in boundary-pushing rap and R&B, you’ve probably found yourself floating through his orbit. Born Stephen Bruner, he is the son of Ronald Bruner, Sr., a drummer who played with Diana Ross and the Temptations. Bruner’s career has featured him writing, performing and recording with a diverse group of notable musicians including Herbie Hancock, Erykah Badu, George Clinton, and Suicidal Tendencies.


More than a hired gun, he’s developed his own sonic persona, starting with his collaborations with Flying Lotus and then coming into full view on his two blistering solo slabs of jazz fusion: 2011’s The Golden Age of Apocalypse and 2013’s Apocalypse. He returned this year with a surprisingly deep mini-album called The Beyond / Where the Giants Roam.

Bruner’s sonic DNA is intrinsic to the fabric of Kendrick Lamar’s iconoclastic statement To Pimp A Butterfly. His ebullient bass playing is prominently featured across the album, along with production credits on “Wesley’s Theory”, “Hood Politics” and “Complexion (A Zulu Love)”. His extensive involvement also put him in a position to see one of today’s greatest artists at the height of his powers from close-up.

“Kendrick is such a dynamic person, man. There’s more to what Kendrick does than [just] rapping,” says Bruner. “It translates in the words so heavily – it feels like an understatement to call him a rapper. Watching his process, watching how open he is to stuff, and when he’s open, he’s fully open. He executes everything that he thinks and it was an amazing process to see.”

Bruner’s influence on the album extends to letting Kendrick in on his encyclopedic knowledge of jazz as well as introducing Lamar to producer Taz Arnold of Sa-Ra, a former collaborator who presaged hip-hop’s current obsession with minimal funk. But his strangest impact on the album hinged on Kendrick Lamar’s preternatural sense of emotional perceptiveness.

“[While composing music for] ‘Mortal Man’, I had been going through a certain set of circumstances emotionally, you know? And I played it for Kendrick and with Kendrick not having seen me, as soon as he heard it, he said, ‘That sounds like something like this happened.” It was like on a whim that he got exactly where the music was coming from: from me. And it freaked me out.”

“He described whatever was going on with me to a T within five seconds and then walked out the room. It put a little bit of HD on everything, like high definition. It was like, ‘This guy’s on it!'”

With events like the Afropunk Festival and albums like To Pimp A Butterfly and D’Angelo and the Vanguard’s Black Messiah serving as contemporary mainstream responses to the unjust treatment of black people in America, there are striking parallels between the black music of today and that of the 1970s, another period of time where social upheaval made for timeless revolutionary music.

“Music has always been the soundtrack to life in a genuine way and art being an imitator of life, this is just the sights and sounds of what’s going on right now. Call it politically, economically, emotionally dealing with the same issues at different levels. This is the soundtrack to that.”

“I don’t wanna specifically call it black, even though it’s one of those things where it’s inevitable that it’ll be considered that to some degree but I feel like the reason that it resonates so hard is that everybody can feel it.”

“Whenever you talk to somebody that lived during the ’70s, they have this certain sense of peace about them. There was a bit of happiness amongst a bunch of darkness. These are those moments like that. Not knowing what’s gonna happen to our country, so to speak. Like, are we still dealing with racism? Is it still like a circus? Am I crazy or are they crazy? Maybe I’m crazy. This is the sound that comes with that.”

The Beyond / Where the Giants Roam finds Thundercat further exploring the vast landscape of his creative talents, a realm that has come to contain echoes of grunge, hard funk and R&B. The languid, relaxed tone of these songs belies the dark lyrics in a way that mirrors Bruner’s inward approach to dealing with problems in real life.

“Whenever stuff gets crazy, I really calm down. I’m the worst person to react to anything. I have catlike reflexes on accident but in real time, if somebody was gonna swing at me, I would get hit but hopefully it wouldn’t knock me out. That calmness comes from the genuine feeling of everything being completely out to lunch.”


  Duckwrth cannot be pinned down. The 28-year-old rapper, born Jared Lee in South Central, landed like a splash of mixed paints with his debut full-length I’m Uugly in fall 2016. Its 10 elastic tracks stretch across hip hop, chill wave, funk, and punk, all shrouded in a soft-focused haze. He aptly calls this impressionistic concoction “psych rap.” Early last November, Duckwrth released An Xtra Uugly Mixtape. Whereas I’m Uugly exalted the beauty that lives within the harshness and griminess of everyday life – from the physical to the political to the socioeconomic – An Xtra Uugly Mixtape encourages being unapologetically you. It is, as Duckwrth writes on his Soundcloud page, “the anthem for your rebellion.” Fittingly, the tape is higher in energy; the guitar sounds are cranked. An Xtra Uugly Mixtape is his attempt to put hip hop and rock on equal footing within the same piece of music. An Xtra Ugly Mixtape is also a gradual step towards fulfilling his stadium rock ambitions. Duckwrth had one of his most formative musical experiences at a stadium show. “I used to do the whole protest [thing] and be more politically driven,” he says. “But then there was a time when


Over the past four years, Halifax pop artist Ria Mae has accomplished dreams she has openly spoken about: being produced by fellow Nova Scotia success story Classified and touring with Tegan and Sara and Coleman Hell. Since creating her self-released demo of “Clothes Off” in 2013, she has signed with Sony Music and Nettwerk Management. The former has helped develop the careers of Avril Lavigne, Barenaked Ladies, Coldplay, Dido, Sarah McLachlan, and many more. The finished version of the song – her major label debut – earned Mae her first Juno nomination, for “Single of the Year” in 2016, which put her in direct competition against Drake, The Weeknd, and Justin Bieber. From Mae’s new home in Toronto, only two days removed from a cross-Canada tour with Scott Helman, she spoke with Georgie about her sudden rise, working with Classified, stepping up as a voice for LGBTQ groups, and more. G—As you’ve discovered, you can make a lot of unexpected connections in a small town. But that can be a good thing because working with people who differ from you in their approach forces you to create from new perspectives. Do you ever have reservations about working with people who


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  Three years after the release of his first EP, Augusta, Canadian singer-songwriter Scott Helman has unleashed his debut full-length LP, Hôtel de Ville, a collection of 12 alt-pop coming-of-age tracks. The 22-year-old Toronto native who successfully broke into the music industry in his mid-teens earned himself two Juno Award nominations, certified gold status for his hit, Bungalow, and began quickly fielding comparisons to the likes of Vance Joy and Jeff Buckley. With a new level of acclaim awaiting him, Helman has recently finished his cross-Canada Scott vs. Ria tour with fellow Juno nominee Ria Mae. We thought it would be the right time to ask him about his momentous musical journey. G—You got your first guitar when you were ten. Was this what led you to become a musician? Scott Helman—I used to mess around on my friend’s guitar, and really wanted to learn how to play. So, I asked my parents for a guitar for Christmas. I remember coming down the stairs and seeing it, and knowing instantly what it was because of its shape. I never put it down after that. G—What kind of music did you listen to growing up? SH—My parents are British immigrants, so