A stirring and powerful celebration of cultural connection alongside masterful performances, Kamilaroi and Tongan artist Radical Son unveils his sophomore album Bilambiyal (The Learning), out now via Wantok Musik. Boasting 13 tracks that swell with dynamic meaning and gripping arrangements, Bilambiyal (The Learning) also offers a deeply powerful statement of devotion to country, armed with harmonious traditional and modern sonic hues.


Releasing via Wantok Musik, and following on from his debut release Cause ‘N Affect, Bilambiyal (The Learning) was also crafted alongside a powerhouse team, including Full Circle Audio, Marcus Longfoot, Andy Robinson, David Bridie, Frank Yamma, Emma Donovan and many more lending their magic to the end result. Heralded by its lead singles Elder, Until You Call My Name, and Yuluwirri Wandabaa (The Rainbow Dreaming), Bilambiyal (The Learning) delves deep into Radical Son’s passion and advocacy for culture and connection in the modern age alongside themes of reflection, growth and, ultimately, learning. “I remember how much it meant to me to finally have a voice,” shares Radical Son of his new album. “I am so grateful to be releasing our album Bilambiyal” (The Learning). I am very proud of this work, and I am so grateful to those who have collaborated with me to bring it to life. I believe we have created a work that we can all be proud of. I absolutely love the songs on this album, and I know you will too. Even though I wish I’d had a stronger connection to Culture and Country. Even though there was a real disconnect and Culture and Country was not something I had a deep understanding of, still so much of my music is about my mob, my culture, my heritage. With almost 20 years now as an artist, I’ve stayed true to the game. I’ve stayed true to my mob. I’ve stayed true to myself. I really do hope that that message comes through in my songs.”


Opening with the starkly intimate Elder Reprise, Radical Son instantly conjures goosebumps as his almighty vocals soar, akin to standing on a mountaintop proclaiming: “I wish to be an Elder”. A short yet instantly gripping introduction to the power lying in wait throughout Bilambiyal (The Learning), Elder Reprise transitions seamlessly into How Long Must I Wait, a warm blend of soul and urgency, followed by the glowing ambience and captivating vocals lying in wait on All My Life. From a magnetic reflection on gratitude (Until You Call My Name) to a striking spoken word interlude (Cultural Contract), Bilambiyal (The Learning) rises to even greater heights via the commanding Elder; a spellbinding outing that also pays tribute to Radical Son’s cultural legacy seeking to inspire potential future Elders of this land. And journeying between elements of reggae (the buoyant Only One Life), moody and glossy ambience laden with vulnerability (The Learning (Bilambiyal), aka the album’s hypnotic title track), and potent lyricism fused with driving delivery (Yuluwirri Wandabaa (The Rainbow Dreaming) featuring Emma Donovan and Frank Yamma), Bilambiyal (The Learning) closes out with heady swoon (Dhuwan Baraay Yuligi), another haunting spoken word interlude (The Same Game), sleek soul complete with intermittent strings and layered harmonies (A Golden Age), and, ultimately, a track that simultaneously dazzles with Radical Son’s honeyed delivery and potent yet sparse instrumentation on The Fall. Declaring “I’m looking for a change, I’m ready for a change”, The Fall closes Bilambiyal (The Learning) on a pensive yet uplifting note, showcasing Radical Son’s stunning craftsmanship alongside his own personal and creative learning, as well as his unwavering connection to culture and country.


One of the most compelling artists in the Australian cultural scene, Radical Son, the son of an Aboriginal woman and Tongan man, channels his experiences from his past into immense power and resolve, with his trademark sound pulsing with the urgency of hip hop and emotionally charged soul. A festival favourite, cemented by his show-stopping cover of his mentor Uncle Archie Roach’s Walking Into Doors in 2022, Radical Son has performed to standing ovations at Bluesfest, St Kilda Festival, VIVID, the AFL Dreamtime 2022 game, and the official Uncle Archie Roach memorial in Melbourne and Sydney.


A highly skilled concert artist, with performances alongside classical ensembles and high-profile collaborations under his belt, Radical Son’s artistry also expands to film and TV, with credits including Defining Moments, a six-part NITV documentary exploring life-defining experiences, and theatre work, including the lead role of Pemulwuy in I am Eora at the 2012 Sydney Festival.


Studying as a musician at The Eora Centre for Visual and Performing Arts in Redfern, as well completing a Bachelor of Music from Newcastle Conservatorium, Radical Son’s creative prowess and steadfast substance is only matched by his otherworldly stage presence that repeatedly transfixes; and this fact is only set to heighten with an upcoming performance in later this month as part of QPAC’s Warriors Concert for 2024’s Clancestry Festival in Brisbane armed with Bilambiyal (The Learning).


“This record is something I can be proud of,” shares Radical Son. “It’s an example to me of how I’ve grown and done better in my creative work. It’s my favourite album of mine so far.”

“Music has made me a better person. We hold the key. Within ourselves we can change things for ourselves and make the lives of others better in the process. I hope my songs have a positive impact on you.”


Bilambiyal (The Learning) is out now, via Wantok Musik.


Tickets available from https://www.qpac.com.au/whats-on/2024/clancestry-warriors


Scottish-born, Melbourne-based artist Quinny weaves warmth into wistful, driving indie folk via his brand new single Settlers out in the world today. Previously renowned for his tongue-in-cheek Christmas sonic creations, as well as strangers frequently mistaking him for Ed Sheeran in public, Quinny’s brand new single showcases his absorbing creative flair, as does the accompanying video for Settlers also out today.

Penned in rural Maine in America during 2022 alongside friends Marie Collins (The Vegan Leather) and Hannah Daman, Settlers was given its finishing touches courtesy of Graham McCusker, a composer for BBC’s His Dark Materials and lead artist in Glasgow/Manchester bands KAZE and Marouli. Recording in Scotland with Robin Evans (Dodgy & The View), Settlers embraced many of Quinny’s musical muses while also capturing the poignant heartache that accompanies disappointment, as Quinny elaborates, “This song is about confronting those you rely on most when they have let you down. There’s a sort of stadium-folk feel to it. I wanted to have big chords, but also some delicate verses. If you listen to the piano, you’ll hear a bit of Sigur Rós influence, and I like to think I go a bit Billy Corgan at the end too.”

Featuring Quinny himself, aka Peter Quinn, on vocals, guitar and bass, Settlers also incorporates Graham McCusker on piano and vocals, Martin Tormey on drums and vocals, Marie Collins on vocals, Hannah Daman on vocals, Martin Quinnon vocals, and additional production by Nathan Cable. Also amplifying the track’s compelling subject matter and instrumentation, the visual accompaniment for Settlers features a relatable narrative, with director and filmmaker Conor Reilly working alongside Quinny and the clip’s actors Martin Quinn and Stephan Buchanan to bring the Settlers creative vision to life, along with some stunning landscape visuals shot in Quinny’s home country. “The video is about anxiety,” sharesQuinny. “It features a young man going about his daily business, constantly being interrupted by someone else – a manifestation of his woes. He tries to just ignore it, until finally starting to take some action and getting out and about in the Scottish Highlands. Because of the nature of the sound, I thought some wide shots of Scottish mountains would be quite fitting, and it’s worked really well. Martin and I workshopped the concept and story with a few people before landing where it did. After a point, I left Martin to it as he was on a roll! Originally, the video was set to a different song from the album, No Place to Die, but after a few edits, it was clear Settlers was the right choice.”

A talented singer and songwriter hailing from Scotland, Quinny’s musical endeavours has seen him fuse his burgeoning flair alongside his four influential B’s, namely Biffy Clyro, Blink-182, The Beatles and Bombay Bicycle driving behind Quinny’s ultimate trademark sound. With tours in the UK and North America under his belt, the multifaceted creative shifted to Melbourne in early 2020, with his newfound hometown sparking creative excitement in true rock’n’roll fashion. “I love it, honestly,” says Quinny of the Melbourne music scene. “Compared to Glasgow and London, Melbourne has remained rock’n’roll through and through. Less bands with backing tracks and more bass players jumping into the crowd at a packed out 100 cap show.”

Alongside performances headlining shows at The Gaso, Last Chance, Retreat and Fitzroy Pinnacle in Melbourne, Quinnyalso won the 2020 Darebin Songwriters’ People’s Choice Award shortly after moving down under for his single Found & Lost. Described by Tenement TV as “an enthralling mix of the raucous and sentimental with witty lyricism and poppy charm”, Quinny had spent the past few years releasing older material and flippant Christmas songs, with One Foot In The Grave’s Richard Wilson making an appearance in one of Quinny’s Christmas videos.

Set to perform next week at Fitzroy Pinnacle armed with his latest track, the brand new Quinny chapter is already shaping up to be one to remember. “Generally, at my live shows I talk too much! I saw Georgia Knight at the Forum supporting Blonde Redhead recently and she hardly talks…I aspire to be that cool,” Quinny concludes. “No one can understand what I’m saying anyway. This will be the first outing for a few of the songs of my upcoming album, so I’m looking forward to starting to get them on their feet with the full band. If nothing else, the backing vocals will be amazing, Estelle and Naomi always do such a great job.”

Settlers is out now.


Tickets available from Oztix

Soundcloud: SETTLERS




A hypnotic blend of grit and post punk narcosis, the brand new single Unfamiliar Boy out today from Gold Coast five-piece Chavez Cartel is a woozy yet powerful continuation of the group’s trademark sound, serving up simmering intensity alongside a fittingly moody music video also out today.


Opening in a stripped-back haze, Unfamiliar Boy soon grows to oscillate between smoky simplicity and raucous choruses, headily driven by the repeated mantra “I wanna change, I need a change / I’m only human after all” and healthy servings of post punk rock. With nods to the psychedelic stylings Iggy and the Stooges as well as IDLES, Arctic Monkeys and Fontaines D.C., Unfamiliar Boy ultimately draws you headfirst into a vivid reflection on the overwhelming rollercoaster that is time, as the band explains, The song was inspired by a period of time where life seemed to be going really fast and having the feeling where you don’t have time to even think. Like life is slipping through your fingers and you can’t quite grasp what’s really going on. Not a good headspace to be in. There’s a line coming out of the breakdown, “I need to wheel-spin in the mud, now that the months feel more like weeks”, that paints the mental picture of that feeling. It’s sort of like a plea where I’m going “If my head is going to go round in circles this fast can’t we at least stand still while we’re burning out and overheating so we’re not wasting any more time while we’re doing it?”.


Working alongside friend and frequent collaborator Jake Johnson, aka Burning Jacobs Ladder, Unfamiliar Boy firmly captures the live Chavez Cartel sonic potency, with the addition of Spencer Martin on mixing duties also continuing the creative thread in the band’s recent creative journey. “We did this song with a good mate of mine called Jake Johnson aka Burning Jacobs Ladder,” shares the band. “He’s a really great producer, he produces all his own music and he’s had a lot to do with our band over the last few months. He filled in on bass for our US tour and was a really cool addition to the lineup. We wanted to take that tour sound into studio with us and we’ve replicated it quite well. Johnson also engineered All I Know for us as well which is the bonus track on our Red Flag Blues EP. Those songs came out in March (check ‘em out!). Spencer Martin mastered the song for us who is an American mix/mastering engineer based in South Korea. He worked with Johnson a lot on his stuff, so we kept that working relationship going on our song.


Wielding a slick yet gritty aesthetic, the accompanying music video for Unfamiliar Boy balances performance visuals along with punctuated shots of New York, resulting in a journey that feels simultaneously intimate yet perfectly curated, with all the featured visuals filmed by Brooklyn-based videographer Katie Oliver during the band’s recent North American visit. “The video was filmed by Katie,” the band shares, It was all filmed on our New York leg of the US tour. She followed us around and hung out with us while we were playing over there and covered all our shows. She’s a real cool cat and came out partying with us and showed us round the city a bit too. It’s all there in the video. The video has a bit of a gritty/grungy tour documentary sort of vibe which is exactly what we wanted for this song. It’s more of an intimate live diary sort of feel as opposed to our previous production heavy music videos. Chavez Cartel in New York City. I still can’t get over it. Proud accomplishment.”


Releasing two EPs in 2019, Lucky Lucky and Confidence Is All I’m Taking Home, Chavez Cartel bunkered down during the pandemic years, ultimately turning their gaze and full focus into sharpening their sound and songwriting. The end result saw the band sign with End Of The Trail Records and release their 2023 EP Man’s Best Friend, before embarking on an extensive East Coast headline tour, supporting The Reytons on their What’s Rock N Roll Australian run, tour as main support alongside The Delta Riggs, and tick off their first ever UK performances, including headline shows in Sheffield, Barnsley and Rotherham, along with performances at The Great Escape Festival and at the End Of The Trail Creative Showcase in London.


In 2024, Chavez Cartel took off overseas once again, performing at The New Colossus Festival in New York as well as at SXSW in Austin, Texas, with both experiences broadening the global reach of this talented Gold Coast group. A band undeniably on the rise and one absolutely not to be missed, Unfamiliar Boy is the beginning of a phenomenal new chapter for Chavez Cartel; and following an extremely busy 12 months on the road, the band are raring to reveal even more new music to the world in the not-too-distant future, as they conclude, “It feels like we’re back to business. Whenever we get back off touring it always feels like we’re doing nothing because the pace is so slow compared to life on the road. Of course, we never stand still, but the change of intensity is always disheartening. It feels like we’re working again now. We’re still in the studio finishing off a second song which will be the follow up single to Unfamiliar Boy. It’s a real change of pace for us but it’s a really beautiful track. We played it live once in Byron Bay a couple of years ago and it was received really well. We don’t often get chance to perform any stripped-back songs, but Byron is a hippy town and we dropped it at a small venue down there. It was quite magic, so we’re really happy to be digging this one out and getting it laid down. It shows our versatility as writers. Stay tuned for more to come.”


Unfamiliar Boy is out today, Wednesday July 10.






CHAVEZ CARTEL – UNFAMILIAR BOY – Official single artwork