CHUTNEY SHARES A CULTURAL COLLISION FOR THE AGES VIA NEW SINGLE + VIDEO TOXIC MOONLIGHT
“Chutney have brought the sampled songs – born hundreds of years apart – together to make something excitingly modern” – Rolling Stone
Britney Spears and Beethoven collide in dark and beautiful whimsy today in the hands of Sydney klezmer punk collective CHUTNEY. Teaming up with The Potbelleez vocalist Ilan Kidron on guest vocals to conjure Toxic Moonlight, the hypnotic melodics of Britney Spears’ 2003 hit Toxic fuse with Beethoven’s melancholic masterpiece Moonlight Sonata alongside CHUTNEY’s trademark Eastern European and Middle Eastern flair. Or, as CHUTNEY themselves put it: “It’s the illicit love child of Britney and Beethoven in a raucous Balkan bar – it’s bonkers”.
The equivalent of The Cat Empire partying in pop and classical territory, with a hora dance in its chorus thrown in for good measure, Toxic Moonlight welds two equally iconic yet exceedingly diverse songs, with over two centuries elapsing between Beethoven’s Moonlight Sonata and Britney Spears’ Toxic being released into the world. Growing from a seed planted by Kidron, with The Potbelleez front man noting the klezmer-esque qualities of Toxic, as well as CHUTNEY violinist Ben Adler exhuming Moonlight Sonata, the end result for Toxic Moonlight captures the urgency and catharsis of both originals, while also transforming the source material into a modern and daring reimagination. “It was 2021 and we had a gig lined up with Ilan,” shares Adler of the Toxic Moonlight origin story. “We were in a reprieve between COVID lockdowns so we’d developed a certain nihilism that, in retrospect, was highly conducive to unfettered creativity. I was talking with Ilan about songs he’d like to sing with us, and he observed that the string riff in Toxic sounds “really klezmer” – we only discovered years later that it’s actually a Bollywood sample! Anyway, Ilan’s suggestion was all I needed to klezmer-ify Britney’s song. Something about its darkness and (toxic) romance then led me to Beethoven’s Moonlight Sonata, especially after I realised that importing Beethoven’s descending bassline might open up a whole new set of possibilities for the otherwise pretty harmonically static ‘Toxic’ verses. I sketched up a chart and we tweaked it in rehearsal, at a gig and in the studio into its present form”.
And for Kidron, it was a no-brainer to tackle the global Britney Spears hit into new and uncharted waters with CHUTNEY, as he explains, “I was always really impressed with Mark Ronson’s version, and although Toxic had been covered plenty of times, I knew CHUTNEY would translate it really daringly and originally. They have an unashamed ability to bend the rules; but somehow it works. This version plays between a dark oceanic void and a western bar fight. There is emotional drama and a dance between tension and release that I love here.”
Opening with the moving solitary piano line of Moonlight Sonata before swelling with driving percussion and swooning strings, Toxic Moonlight flits between moody verses and vigorous, upbeat choruses with dark and wholly innovative abandon, with Kidron also placing his own unique spin on Toxic’s original lyrics. Dan Natoli of AKA Music produced, recorded and mixed the track, and is responsible for the epic expansion of CHUTNEY‘s live sound in post. CHUTNEY bassist and second keyboardist Ralph Marshall also worked as a de facto assistant producer on the track, as Adler reveals, “He coaxed an outsize number of ‘electronic haze and mechanical fart’ noises out of his synths and Moog”. “It all felt super easy, it was well rehearsed” says Kidron of recording Toxic Moonlight. “I had fun in the ad libs, though when I’m performing or recording everything kind of dissolves into the performance. If I’m really enjoying it, it becomes kind of amnesiac. Toxic, if you will. It was all set up really live, although it’s a studio album, the method is really genuine, what you hear is what you get. I loved the old school approach.”
Also accompanied today by a brand new music video directed and produced by Adam Dostalek, Toxic Moonlight expands the drama and potency in a visual setting, ultimately following two dancers through a shadowy narrative before ending with a passionate performance from the band themselves. “Our marketing guy Michael Puterflam hooked us up with one of Australia’s top directors, Adam Dostalek, who fell in love with the track,” shares Adler of bringing Toxic Moonlight to visual life. “Our first phone conversation sparked immediate creative chemistry, so we decided to go for it and create a gripping, dramatic narrative to amplify the toxicity of the music. I had Adam and Ilan over for pancakes one morning and we stomped around my kitchen talking over each other for two hours until we had the basic concept storyboarded. In essence, the video tracks our heroine rescuing her love from a toxic environment, and bringing him to a community where he is free to be himself. It’s a metaphoric journey, and we discussed a number of modern-day abstract toxicities, including arrogance, bullying, talking without listening and conformism of thought. As hard as it is to escape toxic environments, it’s often harder to recognise their toxicity – and that applies to relationships too.”
Adler continues, “We chose to make a video for Toxic Moonlight for a few reasons. In my head, this track has always been cinematic – post apocalyptic stadium symphonic rock vibes. Ilan sings out of his skin, and we think our arrangement is outrageously unique and deserving of attention. We also thought Toxic, as one of the most popular songs ever, might be the gateway drug we need to infect the broader Australian music scene with a love for klezmer fusion.”
While balancing two exceedingly well-known songs, Toxic Moonlight is an entirely new beast; one of contrast, cohesion and just the right amount of madcap brilliance. “Toxic is such brilliant writing,” says Kidron of the Britney Spears 2003 smash single. “It’s rarely a good idea to take on recording and releasing a cover unless you’re going to spin it really differently. We did Toxic Moonlight live a few times and it was just heroic fun. And when the climax goes bananas, it still feels like people are going to start throwing chairs around the venue. The arrangement should sound disjunct, what with the sections contrasting so much, but it rides like a velvet clad rodeo bull, smooth and bucking in chaos.”
Hailing from Sydney, singer-songwriter Ilan Kidron commands over one billion combined streams and is globally beloved as the lead singer for the multi-platinum selling group The Potbelleez. With several ARIA Award nominations in his wake, Kidron’s work with The Potbelleez has spanned two full length albums, multiple EPs and ongoing chart successes, while his solo work has led to the formation of The SchoolKids, an acclaimed songwriting and production team, as well as work alongside the likes of Ricky Martin, Tina Arena and Ricki Lee. And as well as the release of Toxic Moonlight, 2024 is shaping up to be another bumper year for Kidron, as he concludes, “I’m currently finishing my own album and touring back with The Potbelleez. I’m also singing and performing a symphonic electronic dance event called Synthony for Vivid Festival.”
Renowned for transforming klezmer music, an instrumental genre drawn from the Jewish villages of nineteenth century Eastern Europe, with their own unique twist, CHUTNEY wields a vibrant brew of jazz, funk, rock, folk, Latin, classical and everything in between. With both original tunes and modern takes on traditional bangers in their ever-growing catalogue, CHUTNEY is also set to release their debut album Ajar on August 6. A spicy collection of instrumental and vocal, Ajar ultimately represents a coming of age for CHUTNEY; it’s the band’s bar mitzvah, and everyone is invited to the party. “Totalling over an hour of music, it feels like we’ve made one of the biggest independent albums produced in Sydney in recent times,” Adler says of their upcoming new album. “We’ve selected our favourite 13 songs from four years of gigging. The songs feature two other wonderful guest singers – soul songstress Sarit Michael and musical theatre star Doron Chester. From samba to Dixieland, power ballad to Bulgar, we’ve left the door ajar for everyone’s tastes.”
“CHUTNEY is a cherished project for all of us,” Adler concludes. “Most of us are Jewish, so it’s deeply meaningful to be able to reimagine our cultural heritage as something fresh, relevant, and indelibly Australian in its musical larrikinism. We like to say that we are CHUTNEY because we are a mixture of disparate ingredients bound by the warm sugary embrace of klezmer. In truth, though, my housemate had fortuitously left a jar of chutney in the fridge when I hosted our last rehearsal before our first public gig, and as we gathered around the piano munching on apple slices dipped in chutney, the name materialised and just stuck – like its namesake stuck to our fingers.”
CHUTNEY comprises: Ilan Kidron (guest vocals), Ben Adler (violin), Paul Khodor (keys), Ben Samuels (clarinet), Ralph Marshall (bass, Moog), Yiss Mill (percussion) and Cameron Reid (drums).
Toxic Moonlight is out today.
Ajar is set for release August 6.
ISLA NOON SHARES GLIMMERING NEW SINGLE + VIDEO ‘HER’
An introspective yet expansive alt-pop gem, the brand new single Her from Aotearoa New Zealand artist Isla Noon is a driving new outing, also fittingly accompanied today by an intimate and energetic music video.
Opening with wavering synths and the ethereal vocal stylings of Isla Noon, Her buoyantly builds into an empowered and vibrant ode to Noon’s younger self. Nodding to the passionate creations of Sam Fender, the intimate yet atmospheric wiles of Holly Humberstone, and the dreamy hues of American indie pop group MUNA, Her is ultimately a candid and assured triumph, complete with goosebump-inducing melodics and glimmering textures. “I wrote Her alone, at home with my guitar,” reveals Isla Noon. “Her is about my younger self. Life often ends up taking you down a whole lot of roads you could not have anticipated when you were young. I didn’t want to lose my child self in adulthood, because I still have a lot of the same dreams I’ve had since I was a little kid. In a way, I felt like I owed that little kid, like she was counting on me. Writing this song allowed me to open a dialogue with my younger self and let her know; ‘You can trust me to take over now. It won’t be perfect, and some of the things you thought you wanted will change, but you’ll be happy’. It’s me at my most candid and conversational.”
Producing Her alongside long-time collaborator Maude Minnie Morris as well as Chris van de Geer on co-producing and mixing duties, Isla Noon’s experience recording the demo vocals for her latest single proved as memorable as the end result, as she explains, “I wrote the song at home and then brought it into the studio to record with Maude. I was sitting on the couch behind Maude, recording in the demo vocal, and I remember her turning her chair around when the song ended and looking at me like she was about to cry. It only really struck me then that anyone else would understand what I was feeling or connect with the song, it just felt so incredibly personal when I wrote it.”
Also armed with a brand new music video, the kinetic Her rises to new and connective levels, with Her’s accompanying visual concepts organically emerging the very same day Isla Noon penned the sublime track. “I wrote the music video concept the same day that I wrote the song,” she reveals. “I had this mental image of a fake car in a studio environment, driven by people in my life with me as a constant passenger, and ending with me leaving the set and driving my real car. The fake car in the video is a nod to the driving metaphor throughout the song, but also a metaphor for my life and the way in which I felt I was being driven by a younger self that had high hopes for me. I met with Oshara Ardelean, who also directed the video for Body, and I remember thinking: ‘Oshara is going to think I’m nuts for wanting to construct a life-size model of a car out of cardboard’. But thankfully, she was totally on board. It was a really personal shoot. Full of laughter and also a few emotional moments. The video features a young Isla Noon, played by the absolutely joyous Scarlett Ewen. It also features my best friends Georgia Mismash as the ‘cool 25 year old’, Maude Minnie Morris and Swap Gomez who are also my live band.”
Growing up listening to the likes of Boney M as a toddler before devouring everything from Leonard Cohen through to Caroline Polachek, Wolf Alice and Lorde later in life, Isla Noon’s core musical memories drive vehemently through her powerful pop stylings, merging into creations that are intelligent and intimate in equal measure. Writing music from an early age and first picking up the guitar when she was 10 years old, Isla Noon’s academic pursuits soon merged with her creative passions before she ultimately transformed into the formidable artist as we know her, in the most relatable way possible: by breaking her own walls and notions of perfectionism down and confronting any aversions to vulnerability, ultimately emerging as the authentic and potent performer and songwriter she is today.
From her work being described by Rolling Stone as “glistening, dance-pop perfection” through to a string of local and international successes already under her belt, Isla Noon’s gaze now sits fixed on the near future, with a ground-breaking debut album on the way already paved by the resonating beauty of her new single. “This song allowed me to put into words something that was weighing on me at the time, and now feels like a marker of my growth since writing it,” Isla Noon concludes. “I’m no longer experiencing the weight of those feelings, in fact I’m in a very peaceful place with it now, but it’s only really through writing the song that I moved through and past that block. It felt like a gift to myself to write, and releasing it feels like passing that gift on to anyone who may have ever felt that they were falling behind in some way, or struggling to reconcile expectations that their younger self may have had about where they ‘should’ be in life.”
Her is out today, Friday May 10.
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