TEED: The Artist Behind Totally Enormous Extinct Dinosaurs and His Beautiful New Album as an Apology

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On a rainy afternoon in Los Angeles, the new album from TEED creates a moody atmosphere during a crosstown drive, transforming the gray skies into a tapestry of melancholy and rhythm, lending an upbeat vibe even to the stop-and-go traffic.

“It’s romantic,” TEED, whose real name is Orlando Higginbottom, remarked during a lunch meeting at a Hollywood café. He was casually dressed in jeans and a brown leather jacket, embodying the colder-climate vibe of his promotional imagery for his upcoming album, Always With Me, set to release on December 5 via The Orchard and his own label, Nice Age.

In his music videos and posts on social media, TEED presents himself as a contemplative figure on vacation, often found gazing solemnly at beach landscapes. This aesthetic draws on nostalgic memories of summer trips as a child, when he and his large family would embark on lengthy drives to France, where his mother is from.

“We’d take two days to get there, and I’d have my headphones on for two days. It was my own little hero’s journey, this sort of transformation,” he reminisced. “That’s where a lot of dreaming happened during those holidays.” TEED has woven these memories into the 11 tracks of his new album, aiming to evoke a sense of daydreaming in his listeners: “I hope that it’s dreamy for people and that it makes them daydream.”

TEED’s music aims to transport listeners, marking his evolution from Totally Enormous Extinct Dinosaurs to simply TEED. He describes this name change as a natural progression, noting that it reflects his journey through the music industry since the wild success of his 2012 debut, Trouble— a path that included moments of confusion and rejection before a decade-long wait for its follow-up, When The Lights Go. “There were some real low points, but I achieved sobriety during the pandemic, and now I have a new body of work.”

Always With Me arrives at a time when the music industry faces notable changes from when TEED first began his career. “I think strategy has become as much of a conversation, if not more so, than the actual art,” he explained. “We’re clapping for people’s strategy. Can we just listen to the song and applaud that?”

Now older and more discerning, TEED reflects on the industry landscape with what seems to be a distanced amusement. With supportive relationships at The Orchard and his management team at Jet Management—described as “calm”—TEED has found the space to craft the stylistic and thoughtful songs featured in his new album. Despite admitting he “failed completely” at making a club album, he is making strides on the road with his current headlining tour, which runs in the U.S. until December 20 and resumes in Australia in the new year.

In a recent conversation, TEED shared insights about his new album and creative journey.

Your new album is really gorgeous. What is it about?

“It’s a less self-involved record than the last one,” he remarked. “There’s a bit of course correction, in a way. I often wonder if we make records to apologize for the previous one. I wanted to create something lighter, warmer, a more enjoyable listen.”

Is that what you’re apologizing for?

“Kind of. I wanted to do something more pleasant to listen to. I was thinking about long-gone past things and how those ideas make me feel, rather than putting the actual idea into the music.”

Break that down a bit for me.

“I’ve been obsessing over the tone of an emotion. My version of the blues is different from yours. We both have our first experience with romantic blues—an emotional pin in our maps. Many of these significant emotional awakenings occurred during summer holidays, serving as the thematic backbone of this album.”

I was curious about the “sad guy on vacation” aesthetic evident in your rollout materials.

“[Laughs.] If I could present as happy, believe me, I would. But I tend to present as disappointed. I think I’ve got resting disappointed face,” he noted.

There were ten years between your first two albums, then three years between this one and the last one. What influenced that timeline?

“Talking about the longer gap is difficult—it was a rough time. I got lost and confused by my success with my first album. I lacked perspective and found myself wanting to disappear for a while.”

What changed during that time?

“Sobering up helped. I learned to self-release music with The Orchard, which made me feel secure. I found a version of the music industry that supported me.”

Can you give an example of a misrepresentation during those conversations with potential management?

“They often lied about their clients or their accomplishments. I eventually recognized that many were not being honest, which contributed to my decision to step back.”

You effectively rejected the industry.

“I did, but I continued making music despite it. The release of my music was the challenge, not the creativity itself.”

Was there a turning point?

“Yes, on my birthday in 2018, a friend urged me to do something for myself. I decided to release music again. I posted a song on SoundCloud, and the outpouring of love was overwhelming.”

What’s a typical day like for you when making music?

“My ideal day includes listening to what I created the day before, exercising, and dedicating the rest of my time to making music. It’s a blessing to do what I love, especially with the support I now have to take my time.”

What do you think you need to apologize for now?

“I wonder if my next album could be cooler. I’ve recognized my inner contrarian—a voice that often urges me to compromise my artistic preferences.”

So you’ve identified this voice as a sabotaging presence?

“Yes, it’s a saboteur. It’s a defense mechanism. It pushes against my better inclinations towards quality in music.”

You recently rebranded from Totally Enormous Extinct Dinosaurs to TEED. Has your perspective on the name changed?

“It provided an ironic shield, essential to my progression as an artist. Without some humor, I might never have found the motivation to release my music.”

Also, Totally Enormous Extinct Dinosaurs is quite a mouthful. Did that create difficulties for others?

“Radio DJs struggled with it, but my biggest concern was for fans. It felt cruel to put them in the position of promoting my music while tripping over the name,” he explained, adding, “I feel bad about that.”

Apologizing still!

“Always.”

You collaborated with SG Lewis on his album and the Heat EP with Tove Lo. How do you define the sonic world you’re all navigating?

“Many of us seek to merge the physicality of electronic music with deeper emotional songwriting. Classic artists like Depeche Mode and Michael Jackson have managed to achieve that blend. It’s an ongoing challenge that many of us, including myself, are striving to explore.”

Do you feel you’re getting closer to that goal?

“I’m not sure. But I enjoy the journey, as it leads to unexpected results, remaining a timeless issue to ponder.”