RADICAL SON SHARES NEW STEREOGAMOUS REMIX OF ELDER NEW ALBUM BILAMBIYAL (THE LEARNING) SET FOR RELEASE JULY 11
“…a deeply powerful statement of devotion to country and his Kamilaroi and Tongan cultures.” – The Music
Renowned for his immersive melding of hip hop and soul alongside his dynamic vocal performances, Kamilaroi and Tongan artist Radical Sonreturns today, teaming up with Australian leading electro-pop wizard Stereogamous, aka Paul Mac, to conjure an unforgettable remix of RadicalSon’s single Elder. Coated in a contemporary sheen, Elder (Stereogamous Remix) effortlessly heightens the commanding messaging of the original track, with the original also set to feature on Radical Son’s impending sophomore album Bilambiyal (The Learning) due out on Thursday July 11.
Expanding the potent narrative of its original, Elder (Stereogamous Remix) finds Radical Son, aka David Leha, mightily connecting with his cultural roots, while also calling on others to do the same. With unwaveringly sharp intensity and authenticity, Radical Son soars singing, “I wish to be an elder, an old man on this land”, surrounded in its new remixed form by trance-like beats, swirling electronic elements and fluctuating textures that take you from breathless to catharsis and back again. While certainly not Radical Son’s first foray into the world of remixes, with his singles Warrior, Black Baptism and Wicked all featuring remixes on his EP Soul Passenger, Elder (Stereogamous Remix) presents as a fluid continuation of Leha’s soul and hip hop-hued stylings, ultimately emerging as a powerful modern conduit for the track’s significant essence alongside the sleek input from Stereogamous. “I think remixes are a great way to get your music out,” Radical Son shares of the new remix. “I have a great deal of gratitude to my team and all those that are getting behind us and supporting what we do. I’m really looking forward to hearing the feedback from others. It’s such an honour knowing that remix may take it to new audiences. A great message to pass on.”
Teaming up with Stereogamous, aka the multi–ARIA Award-winning composer, songwriter, musician and producer Paul Mac, Radical Son’s brand new remix bridges Elder’s powerful narrative and core with modern hues that respectfully and positively translate into a contemporary setting. And, as Mac explains, the Stereogamous remix of Elder has already proved to be a resounding success in a live setting, shared and heightened by the power of dance. “Elder is a vital song that speaks to honouring those who have gone before us and a positive call for our place in emerging futures,” shares Mac. “As veterans of the LGBTIQA dance scene, we are grateful to see our dancefloor as a safe space for intergenerational community. We are thankful to have been given the opportunity to remix this powerful track with uplifting chords and earthy beats and to share it via dancing. You’re never too mature to belong on a dancefloor. We have road tested the Stereogamous remix throughout Mardi Gras season from Bondi views to sweaty basements and outdoor raves – and the response is always joyful.”
Elder’s original form is also set to shine on Radical Son’s upcoming new album Bilambiyal (The Learning), with the hotly anticipated full length set to further showcase Leha’s cultural connection, innate integrity and powerful perception across its 12 tracks. Releasing via Leha’s own label, Wantok Musik, and following on from his debut LP 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 and Emma Donovan and many more. Opening with the starkly intimate Elder Reprise, Bilambiyal (The Learning) from start to finish is a compelling and routinely beautiful experience, from Leha’s spellbinding delivery on the warm and driving How Long Must I Wait through to swirling bluesy soul (All My Life), ambient, meaningful ballads (Until You Call My Name), reggae tinges laced with hope (Only One Life) and gripping narratives from Leha’s Kamilaroi roots, particularly front and centre on the undeniably dynamic Yuluwirri Wandabaa, aka Rainbow Demon.
An album that is as stylistically diverse as it is captivating, the ultimate lustre driving Bilambiyal (The Learning) is Leha’s powerful devotion to his country and his soul, shown vividly on the stunning might of the original version of Elder, as well as the album’s own title track, with the latter offering an unforgettable emotive punch as Leha declares: “How many days should I go on, how many times must I do wrong, how many tears must I cry, ‘til I learn the meaning of life?”. And it’s ultimately Leha’s raw and ravishing soul-searching and nuanced calls to action layered throughoutBilambiyal (The Learning) that drives home the Radical Son core message: “Life’s a journey and we all have so much to learn. And my pet hate: people who think they know it all and those with no humility.”
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 2032 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 the upcoming release of Bilambiyal (The Learning), as well as Radical Son’s upcoming performance in July as part of QPAC’s Warriors Concert for 2024’s Clancestry Festival in Brisbane, alongside Andrew Gurruwiwi Band, Jungaji and J-MILLA.
“After having played the new songs a few times now and enjoying the positive responses, I’m really excited to see where this goes,” Radical Sonconcludes. “I believe I’m performing better than I ever have. Radical Son is playing with a new lineup. I’m looking forward to playing with new musicians, fans can expect to see an old Warrior that still burns brightly. And we are already writing new songs for the next album.”
Elder (Stereogamous Remix) is out today via Wantok Musik.
Bilambiyal (The Learning) is due out on Thursday July 11.
RADICAL SON – UPCOMING SHOWS:
WED 31ST JULY | QPAC PRESENTS WARRIORS CONCERT AS PART OF CLANCESTRY FESTIVAL | ALL AGES
Tickets available from qpac.com.au
PRESLEY DAVIS JR SHARES THREE SINGLES ACROSS THREE DIFFERENT GENRES
Whoever said two is company and three is a crowd clearly never witnessed three simultaneous singles released from singer-songwriter, actor and all-around compulsive creative Presley Davis Jr. Today releasing three new singles of varying sonic shades, Presley flexes his balanced creative muscles, spanning sultry blues on How Can I, slinky, vintage jazz via Crazy, and bouncy bluegrass courtesy of Petunia. With all three singles also offering a peek behind the curtain into Presley’s upcoming three albums, Birdlife, Roadside Magnolia and Torana Americana which will all form into the amalgamated Eclecta Trifecta project set to release this July, genres and creativity take full flight in the capable hands of Presley Davis Jr; and there is truly something for everyone with his latest offerings.
Flying the flag for blues and soul and taken from the impending album Birdlife, Presley’s first single How Can I swoons with nods to the likes of Albert King, Donny Hathaway and Mavis Staples, with its soft swagger and tempered sensuality showcasing Presley Davis Jr’s charismatic warmth as he regales a tale of tumultuous romance, as the man himself explains, “This song came to mind without much, lyrically, other than a few turns of phrase. I knew it was about someone who was living a double love life. I used details from a friend’s declining relationship which was a real cheat-fest to fill in the blanks.”
Next up, grab some old-timey jazz goodness courtesy of Crazy, aka Presley Davis Jr’s vintage take on the classic single penned by Willie Nelsonand made famous by Patsy Cline, set to feature on the upcoming album Roadside Magnolia. Complete with sparking piano lines, stomping brass and oozing jazz flourishes, Presley’s Crazy is a stunning ode both to its source material, influences like Dr. John, Anders Osborne and Leon Redbone, and, ultimately, his very own upbringing. “My father was obsessed with tenor banjos and early jazz,” he shares. “The only other music he seemed to enjoy was Willie Nelson. Patsy Cline made this song famous, but Willie Nelson wrote it. One morning I woke up to find a recording of myself playing this country classic in this really old-time jazz style. It had been emailed to me from ‘Friday Night Presley’ if you know what I mean.”
And from sonic throwbacks and soulful swoons through to shimmering bluegrass, Presley’s sonic hat-trick rounds out today with Petunia, lifted from the upcoming album Torana Americana; a potent and rhythmic bouncing blast, laced with percolating strings, inspiration from Bill Monroe, Ricky Skaggs and Paul Kelly, and ultimately emerging as a jaunty ode to Presley’s real-life experiences, as he reveals, “Petunia is a slacker’s lament. Or in my case an undiagnosed ADHD lament. I never intentionally dragged my feet in life, but I have pancaked a lot and find myself constantly starting anew. Turns out this is common for people with my diagnoses. This song is basically for my partner who has always supported me.”
A creative chameleon, Presley Davis Jr’s experiences during the pandemic years led to the talented artist evaluating himself both professionally and personally and ultimately settling on the idea to release a three-album project, with all three albums in three different styles to release on the same day. Thus, the Eclecta Trifecta project was born, consisting of the forthcoming full-lengths Birdlife, Roadside Magnolia and Torana Americana. OnBirdlife, Presley embraces rhythm and blues influences, exploring blues, funk and soul vibes that he was steeped in while playing in bands around Chicago and St Louis. For Roadside Magnolia, Presley presents a faithful old-time jazz record, honouring the music taught to him by his late father and featuring tenor banjo, tuba, piano, trombone, clarinet and vocals. And Torana Americana celebrates all things country, with bluegrass songs alongside traditional country and western tunes, all focused on harmony vocals and an array of boot-tappin’ tunes.
Starting work on his country and soul material first, Presley began the entire Eclecta Trifecta process on his own in Melbourne before connecting with some local industry friends to ultimately bring the three eclectic albums to fruition. With mixing courtesy of Alejandro Rosenblat (Roadside Magnolia) in Argentina and Jason Torrens (Birdlife and Torana Americana), and a global army of musicians, the Eclecta Trifecta is a celebration of styles, ingenuity and, ultimately, unbridled creativity. “I bought an interface, a few microphones and watched a lot of YouTube videos,” sharesPresley of the creative process behind his new material. “I just persisted and finished one track on my own. I then sent that to a few of my mates who know about recording. They encouraged me to continue. Jason Torrens was one of those mates. He owns Debasement Studios in Ferntree Gully Victoria and has worked with Bodyjar, You Am I, Slipknot, and he is Senior Program Leader at Collarts. I would record everything and edit things to the best of my ability and then upload the session for him to take over. That was the process for the country songs, and the soul songs. For the jazz songs, we did the drums and piano live with me playing and singing along. We recorded those bits at Four4ty studios in Eltham over 3 days. I then re-recorded the vocals, added banjo, guitar at my house. The best part of that was having Nathan Ford come around to my house to record the tuba for all my neighbours to hear – I had never recorded tuba before. And because of the pandemic, I ended up getting people from all over the world playing on these records, just sending their parts through.”
Adopting his stage name to honour Sammy Davis Jr., it seemed predestined that Presley Davis Jr would find himself immersed in the arts. Receiving his first guitar and tenor banjo at the age of eight from his father, a member of the Nicky Capodice Banjo Band, Presley was contracted to sing old jazz favourites six nights a week by the age of 17 and was touring North America by the age of 25, performing with different bands in different styles spanning bluegrass, blues, soul and rock. Eventually moving to his wife’s hometown of Melbourne, Presley would find himself hemmed in by the world’s longest lockdown during the pandemic years; but rather than dull his creativity, Presley turned to his work and aspired to conjure something entirely for himself, as he concludes, “Covid forced me to think about my mortality. I realised that for most of my musical career I have been a travelling performer. Playing gigs to pay my bills. I have recorded with bands, but I suddenly felt the need to do something for myself. It feels great to finally be releasing these tracks after so much time in the studio. For a while there, I thought the light at the end of the tunnel was accelerating away from me.”
How Can I, Crazy and Petunia are out today, Tuesday April 30.
Birdlife, Roadside Magnolia, and Torana Americana, aka the Eclecta Trifecta, are due out on Tuesday July 23.
| Listen: HOW CAN I | Listen: CRAZY | Listen: PETUNIA |
OHMS RELEASES WHIMSICAL NEW SINGLE ‘BIMBO’S INFERNO’
A fantastical journey welding art rock, progressive rock, synth pop and more, the brand new single Bimbo’s Inferno out today from boundless Melbourne creative Ohms is an intricate and unpredictable ride that marks a first single ahead of a, yet to be announced, full length album.
Peeling layers of oscillating genres and foreboding yet playful theatricality, Bimbo’s Inferno also dazzles with starry-eyed melodics interplaying between sudden sinister stylistic shifts. A pop song at its core immersed in woozy vocals and intergalactic instrumentation, Bimbo’s Inferno never wholeheartedly commits to any one genre for long, instead finding Ohms, aka Melbourne artist Hugo Ivers, exploring inspiration from a galaxy of sonic corners, including R. Stevie Moore, MGMT, XTC, The Cleaners From Venus and the early works of of Montreal. “I think I was just so attracted to the intricacies, both subtle and glaring in all their respective works, it made me think to myself “hey, great music doesn’t have to follow a particular formula if I don’t want it to!”. It excited me deeply to think that I could try my hand at composing something simultaneously pop-centric, and completely unconventional.”
With instrumentation performed dominantly by Ohms himself, who also took on the producer’s role, Bimbo’s Inferno also brought together additional instrumentation recorded by Timothy Dunn, drums recorded by Stu McKenzie, mixing by Ohms and Andrew Robinson at Rolling Stock Studios, and mastering by Mikey Young. And amid the long journey to finally releasing his new single, Ohms drew inspiration from his surrounds in Melbourne, conjuring an unsettling personal nightlife experience into musical form via Bimbo’s Inferno. “It’s not really inspired by anyone, but rather just a tongue-in-cheek pop song about my ineptitude to engage in Melbourne nightlife,” shares Ohms. “I was, and still am, somewhat of a creature of habit, finding more comfort in working on projects by myself into the wee hours, rather than hitting up various pubs and clubs. I remember a rare occurrence years ago where I emerged for a night out with friends, feeling like a fish out of water as we traversed the streets of the inner northern suburbs. I always had some strange, foreboding sense of paranoia once the sun died out and entered the evening. Anyway, the following day I read an article about the same bar we drank at burning down that very night. Suffice to say I didn’t head out on the town for a number of months following that.”
Drawing the Ohms creative name from studies in audio engineering and the necessity of the project’s namesake in the recoding and production process, Ivers’ grew up immersing himself in a vast tapestry of music from his parents’ extensive record collection, spanning 80s soul, 70s progressive rock, 60s folk and 20th-century classical music in his early childhood. Finding fascination in imagery conjured by certain music in his youth, Ivers also inevitably found himself drawn to “an overwhelming attachment to the romanticism of being a ‘musician’ from a very young age”. A multi-instrumentalist, seeking to experiment and understand each instrument intuitively, Ivers evolved into working to reverse-engineer melodies and sounds emanating from his creative consciousness; a process that would blossom with organic magnetic results. “I liken it to Brian Eno’s approach of replacing the element of skill with the element of judgment,” says Ohms. “If it works in my mind, I will seek out what I am hearing internally, in spite of whether I am technically proficient enough to achieve it.”
With Bimbo’s Inferno marking the first step towards a planned upcoming full length album, Ohms is set to entice listeners deeper and deeper into his creative soul; and it’s a journey that has kickstarted with an unforgettable bang. “Unpredictability, intricacy, and colour are elements I’ve always strived for when creating music, and Bimbo’s Inferno exemplifies this effort,” Ohms concludes. “Duality in my music is very important to me, and because of this, I’ve never truly known how on earth to present my music, whether there is even an audience for it. Ultimately, creative pursuits are a deeply personal effort, so the only audience in mind has always been myself. But, naturally, I hope that the madcap, warped pop song that Bimbo’s Inferno is crawls its way into the hearts and ears of those who appreciate its absurdity.”
Bimbo’s Inferno is out now.