RADICAL SON SHARES NEW SINGLE YULUWIRRI WANDABAA (THE RAINBOW DREAMING) FEATURING EMMA DONOVAN AND FRANK YAMMA NEW ALBUM BILAMBIYAL (THE LEARNING) DUE OUT JULY 11
A celebration of ceremony and culture, the brand new single Yuluwirri Wandabaa (The Rainbow Dreaming) out today from Kamilaroi and Tongan artist Radical Son combines powerful storytelling with driving delivery, with Radical Son also joined on this magnetic track by revered Indigenous Australian singer-songwriter Emma Donovan and Pitjantjatjara singer-songwriter Frank Yamma. Also set to feature on Radical Son’s upcoming sophomore album Bilambiyal (The Learning), due out next month, Yuluwirri Wandabaa (The Rainbow Dreaming) once again finds Radical Son delivering artistry that is equal parts dynamic and meaningful.
Bringing together three eminent artists from the Wantok Musik stable, Yuluwirri Wandabaa (The Rainbow Dreaming) opens with Radical Son, aka David Leha’s, inescapably gripping vocals, declaring “Spirit Dreaming / Serpent Dreaming / The Rainbow Dreaming” before the track instrumentally swells to match its emphatic thematics. Firmly driven alongside Radical Son’s delivery by effusive percussion and colourful yet urgent ambience, Yuluwirri Wandabaa (The Rainbow Dreaming) takes further flight courtesy of the powerhouse guest vocals provided from Emma Donovan and Frank Yamma, with the single building to interplay all three artists in an unforgettable climax. “Emma, Frank and I recorded separately,” shares Radical Son of bringing Yuluwirri Wandabaa (The Rainbow Dreaming) to life alongside Donovan and Yamma. “I was really sick the week I had flown to Melbourne to record. The recording sessions were long days and one of the guys had to pump me up full of medicines to get me through the those days. I don’t know how we did it – but it came out sounding pretty good.”
Along with the mesmerising addition of Donovan and Yamma on Yuluwirri Wandabaa (The Rainbow Dreaming), Radical Son also worked alongside Marcus Longfoot and David Bridie to pen the track, with Mitch McGregor on percussion, Phil Wales on guitar, and programming courtesy of Longfoot and Andrew Robinson. And, as with much of Radical Son’s creative endeavours, the beating heart behind his incredible new track is one of passion and advocacy for culture and for connection in the modern age, as he elaborates, “I absolutely love this song. A song about ceremony and culture. There is so much depth in our Culture and Country. Country provides us a way of living and sustenance both physically and mentally. It provides the story and the way. It is there for us. Right in front of us. The only thing is we don’t see it as we are looking at the screens that stand between us.”
Joining recent singles Until You Call My Name and Elder, Yuluwirri Wandabaa (The Rainbow Dreaming) offers yet another spellbinding glimpse into 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 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. 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”, before seamlessly oscillating between warm and soul-hued beauty (How Long Must I Wait), contemporary glow (All My Life) and the utterly calming balm of Until You Call My Name, with the latter straddling raw ambience and rousing vocals. And between shifting between reggae hues (Only One Life), glossy soul (A Golden Age) and rousing, iron-willed ballads (The Fall), Bilambiyal (The Learning) also fervently reflects Radical Son’s powerful devotion to his country and his soul, displayed with gusto via the stunning might of Elder, the album’s various spoken word interludes, and the vulnerable and unforgettable punch of Bilambiyal (The Learning)’s title track.
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), and an upcoming performance in July as part of QPAC’s Warriors Concert for 2024’s Clancestry Festival in Brisbane.
“I have put the work in to improve as a vocalist, and I think that will show,” shares Radical Son of what fans can expect from his upcoming performance. “I think it’s important to stand up as an Indigenous man and share what is important to me. I’m grateful that I have the ability and the option to do so.”
“I am excited to be releasing our album Bilambiyal (The Learning),” Radical Son concludes. “I am very proud of this work and grateful to those who have collaborated with me to bring it to life.”
Yuluwirri Wandabaa (The Rainbow Dreaming) is out today via Wantok Musik.
Bilambiyal (The Learning) is due out on Thursday July 11.
RADICAL SON – UPCOMING SHOWS:
WED 31 JULY | QPAC, BRISBANE QLD| ALL AGES
Tickets available from https://www.qpac.com.au/whats-on/2024/clancestry-warriors
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.
GAVIN MAC SHARES NEW SINGLE ‘SIDESWIPED’
A swaggering alt country ode to misadventures, the brand new single Sideswiped out today from Sydney-based country sensation Gavin Mac is a slick follow up from Mac’s 2023 trio of singles, Bushfire, Live Your Life and Getaway. Also marking a further glimpse into Mac’s impending debut album, Make You Feel set for release in September, Sideswiped is a crisp outing as well as a meaningful full circle moment for the talented artist.
Produced by multi CMAA and ARIA Award winner Matt Fell, Sideswiped welds Mac’s effortless combination of nostalgic country licks, with rock, folk and soul hues linked alongside nods to Chris Stapleton, Eric Clapton, Midland, and John Mayer. Summed up by Mac himself as being “like mechanical bull riding”, Sideswiped evolved from a demo that first drew Mac to the attention of Sony Music Australia as a teenager, as Mac explains, “I first penned, then demoed Sideswiped when I was just 16 years old. The demo helped me capture the attention of Sony Music Australia, who ultimately signed me. By the time the deal was done, I had grown a bit older, and moved to a different place musically, so the song (and I) got shelved. It wasn’t until years later that I dug it out, rewrote it and recorded it properly for the first time, with Matt Fell, and incredible guitarist, Ben Butler.”
Teaming up with Grammy Award winner William Bowden on mastering duties, Sideswiped also features Mac’s effortless vocals and earworm choruses along with guitarist extraordinaire Ben Butler (Sting, Bruce Springsteen, Suzanne Vega) on lead guitar, culminating in a track built both for sun-soaked highway road trips and hazy whiskey bars; or, as Mac reveals, to also soundtrack those days where things go from bad to worse. “I love classic cars, so I’m pretty sure there was a subconscious desire to write a song that featured one,” shares Mac. “The story itself though, is one of misadventure mixed with a dollop of bad karma. A bit like something out of a Quentin Tarantino flick, the (fictional character, loosely based on yours truly) has the proverbial day from hell, that starts off a mess and just gets worse, and with every turn. We all have those kinds of days…right?
Discovered at the age of 16 by Sony Music’s Denis Handlin and John Watson, Gavin Mac quickly gained the title of being Sony Music Australia’s youngest-ever Australian recording artist at the time. Evolving his music industry skills and knowledge in the years to follow, Mac worked alongside both international and iconic Australian artists, including previous work with Nickelback, Queens of the Stone Age, Linda & Vika Bull, and Alex Lloyd. And from managing A&R duties for Roadrunner Records to stepping back from the industry to raise his family, Mac still kept his creative fires alive, co-founding the award-winning brand experience agency Urban, conceiving and delivering marketing campaigns for Electronic Arts, Airbnb, and Netflix.
With years away from music, a fortuitous 2019 road trip to the Tamworth Country Music festival provided the very kindling that would ultimately turn Mac’s gaze firmly back to his passions, songwriting and storytelling, with the Melbourne-hailing singer-songwriter emerging from his musical hiatus with gusto in 2023 balancing renewed purpose, perspective and the powerful drive that comes with unfinished business. In 2023, Mac released his debut solo singles Getaway, Live Your Life and Bushfire, amassing over 300K streams and counting, with 2024 also garnering Mac his first industry nod, taking home the Tamworth Music Association’s 2024 New Songwriter of the Year. Now poised to release his long-awaited debut album, Make You Feel on September 5, Mac’s latest single Sideswiped is the perfect appetiser, providing a full-bodied taste of the dynamic sound and depth of songwriting lying in wait later this year; and there will also be plenty of good vibes in the mix when Mac takes the stage with his new material in Northcote and Waverley in June, as Mac concludes: “I love fans and people who discover me at my shows to feel like they’ve just been invited into a party with their close mates. No egos, lots of chatter and songs you can stomp along to.”
Sideswiped is out today.
Make You Feel is set for release on Thursday September 5.
GAVIN MAC – UPCOMING SHOWS:
SAT 15 JUNE | THE WESLEY ANNE, NORTHCOTE, VIC | 18+
Tickets available from www.oztix.com.au
SAT 22 JUNE | ROBIN HOOD HOTEL, WAVERLEY, NSW | 18+
Tickets available from www.oztix.com.au
SAT 20 JULY | POST OFFICE HOTEL, TAMWORTH, NSW
Free Event, onstage at 4:30pm