Supreme Beings of Leisure

"11i" is brimming with tantalizing, soulful tracks...far from the realm of conventional dance music." - Erin Maxwell, Variety (Feb 12, 2008)
"this is a band bursting forth with its deluxe best yet. 11i is music for the leisure class, perhaps, but--as advertised--it doesn't get much better." - Jason Kirk, Editorial Review- Amazon.com (Feb 12, 2008)
"some of the most thought-provoking late night mood music you’ve ever heard" - Christopher John Treacy, Edge Publications (Feb 14, 2008)
"a 'Mezzanine' era Massive Attack with a more cohesive and slightly less fractured vision" - Nick Annan, Clash Music (Feb 11, 2008)
"Sultry and chic sounds are still well in the Beings command, and that's the reason most fans signed on in the first place." - David Jeffries, All Music Guide (Feb 12, 2008)
"Chilled as ever, the stylish electronics of Supreme Beings of Leisure have lulled listeners into smoky digital atmospheres" - Scott Thill, xlr8r (Mar 14, 2008)
"Relax lounge lizards, metro-sexuals, and techno bon vivants: your hipster heroes are back with a mellow vengeance after a five year hiatus.. SBL’s latest will please their worldwide faithful." - Tom Semioli, Amplifier Magazine
"Groove is in the heart, and they’ve got it." - Jim Washington, Bullzeye
Supreme Beings of Leisure
Everyday Fires and Underground Cool
With five years between albums, you could be forgiven for thinking Supreme Beings of Leisure were taking this leisure thing a tad too far. But America’s first, and arguably best, trip hop band is finally back with an expanded sound that goes beyond trip hop and a new story to tell. Or rather 11 of them, with their new CD, 11i. But the time away wasn’t all rest and relaxation. During the intervening years, both SBL leaders Ramin Sakurai and Geri Soriano-Lightwood dealt with serious family health issues and the waves of change that inevitably follow such life-altering events.
Now, at long last, the ultimate chilled-out martini band is ready for the after-party with a loosely conceptual song cycle about the risks, repercussions and renewals of daily life. The disc travels from the percolating a.m. prelude of “The Light” with its sumptuous vocals and sardonic strings, and winds up with the drift-into-dreamtime swirls of “Lay Me Down.” In between are propulsive cuts like the wistful and hauntingly melodic “This World,” the self-medicated churning and yearning of “Swallow” and the house-y disco whump and winking bad-girl vibe of “Good.” And when they’re not seeking rescue from the “everyday fires,” SBL are coaxing edgy joy from a heady cocktail of suburban angst and sultry worldliness.
Creating a richer, fuller sound than on their 2000 self-titled debut or their 2002 follow-up, Divine Operating System, Geri and Ramin have augmented their dynamic duo by welcoming their touring band into the studio and collaborating on a few tracks: Sheldon Strickland (bass), Geoff Brandin (guitar), and Jason Graham (drums). SBL have also broadened their sound with top-flight guest musicians such as string arranger Scott Tibbs (Beyonce, Mary J Blige), turntablist DJ Swamp (Beck, Crystal Method, Morcheeba), violin virtuoso Lili Hayden and Megadeath axe-man Marty Friedman. The result is a cohesive yet eclectic blend of wild percussive adventures, spicy ethnic flavors, alluring melodies, introspective lyrics and hooky downtempo dance grooves. It’s the kind of crafty sonic salad that fans have come to expect from a crew whose licensing credits include cool placements in ads (Johnny Walker Black Label, Breil Watch, JC Penney), television (C.S.I. Miami, Alias, Dawson’s Creek), movies (Must Love Dogs, The Sweetest Thing, Hamlet) and games (Tiger Woods PGA Tour for EA Sports).
These underground darlings have earned favorable notices in Rolling Stone, the New York Times, Details, Interview, Elle, Wired, Billboard, Keyboard and Seventeen on their way to selling more than 300,000 records. And it seems like the best is yet to come. “Our two previous albums were collections of songs,” says Ramin. “But 11i is more like a complete book, with each song being a different chapter. It’s meant to be read cover to cover.”