![]() ![]() Koonyum Sun takes its name from the Koonyum Range on Australia’s east coast, where Rudd and his sons were living while he made the album. We covered some ground that we didn’t expect to cover and sort of came out the other side, and the music I think reflects on all that.” “Our family sort of fell apart, and the boys and I at that time were a bit confused. ![]() “We had a pretty rough year last year,” he reveals. They seem to be about as happy as two kids on the road with their dad could be, but as Rudd explains on the line from his home in Bells Beach, Australia, the breakup of his 10-year marriage put all three of them through the emotional wringer. He’s laying down some lap-slide guitar while his young sons Joaquin and Finojet bust moves across the stage floor. The album is solid it feels more like a band recording than a solo offering and though it's a step forward musically, it should resonate with new listeners while, at the same time, its tether to familiarity will encourage older fans.In the booklet that accompanies Xavier Rudd’s new CD, Koonyum Sun, there’s a picture of the Aussie roots artist in concert at an outdoor venue in Banff. It reflects a return to the foundation in order to heal so as to climb the mountain again. Ultimately, Koonyum Sun is the most personal record he has ever cut its lyrics are vulnerable - even as they reflect a sinewy spirit - check “Woman Dreaming,” a paean to forgiveness and acceptance, even if it feels like its "whistling past the graveyard." “Badimo” closes the set with an intro that sounds like it comes from the aboriginal "dreamtime": didgeridoos, cymbals, and antiquated folk songs are woven into its modern fabric. ![]() Again the syncopated double-time drums and Izintaba’s amazing backing vocals offer resurrection and rebirth in the midst of life-changing turmoil, and support Rudd’s vocal mightily. “Time to Smile” is gorgeous for its polyrhythms, with carefully chosen electric guitar fills located between Moloantoa’s bubbling bassline and Rudd's strummed Weissenborn. (It’s a brave move indeed that Rudd has chosen this track as its first single.) The skittering snare skeins of Nqubezelo’s double-timing drum work add a moody vibe to the tune but it sounds like quiet thunder as Rudd moans and a downtuned bassline rumbles through bridging the dialogues. While the music in this track reflects his previous efforts, the lyrics are so nakedly confessional they hurt in uncharacteristic fashion. A stellar example is on the sparse, tribal, call-and-response chant on “Reasons We Were Blessed.” Elsewhere, “Love Comes and Goes” features Rudd playing his acoustic Weissenborn slide and singing solo. Combined with Rudd's blue-eyed aboriginal melodies and punchy vocal phrasing, the combination is soul stirring. ![]() The direct role these two players assume in these proceedings is massive: check the dubwise reggae on the opener “Sky to Ground,” and the driving syncopated world funk fusion in “Set Me Free.” These men can also really sing their vocal harmonies reflect South African jive and Township music. Recorded with his new band Izintaba featuring the South African rhythm section of bassist Tio Moloantoa and percussionist Andile Nqubezelo, Koonyum Sun is impressive, more organic. For those who thought the aggressive, squalling rock guitar freakout on Xavier Rudd's brilliant 2009 album, Dark Shades of Blue was too much, 2010's Koonyum Sun may feel more comforting - even if it is a wholly different animal - one that has much in common with his earlier, acoustically driven offerings. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |