I’m willing to take a wild guess that you don’t normally associate traditional First Nations music with party scorchers.
Neither do I. But if you bring great artists together, there are no limits to what they can create on a sonic level, regardless of their respective genres and styles.
Such is the case of “Yolngu” and its remixes – the newest collaboration between First Nations Songman Rrawun Maymuru and classical electronic composer Nick Wales.
PART 179 OF “AM I EVER GONNA SEE YOUR FACE AGAIN?” A RANDOM COLLECTION OF UNKNOWINGLY OBVIOUS FACTS ABOUT AUSTRALIAN MUSIC SCENE
There have been some amazing renditions of songs created by Aboriginal artists over the years.
Goanna’s “Solid Rock” from 1982 is one of my favourites. 41 years later, Moss and Tasman Keith feat. William Barton) released an epic cover.
Another notable example is “Treaty’18” by Yothu Yindi, Gavin Campbell and Baker Boy. It’s a modern interpretation of the 1991 protest song – the first by a predominantly Aboriginal band to chart in Australia.
But honestly, I did not expect to hear traditional Aboriginal sounds in the form of an electronic music banger. As of March 15th 2024, I am officially wrong. So, let’s unpack this phenomenon step by step.
“Yolngu” (pronounced [ˈjuːlŋʊ]) is the new single by Rrawun Maymuru. The word also means “person” in the Yolŋu languages, spoken by Aboriginal Australians inhabiting north-eastern Arnhem Land in the country’s Northern Territory.
Rrawun comes from a long line of Yolngu Songmen from the remote community of Yirrkala. He is the direct grandson of Dr. M. Yunupingu (who was a member of Yothu Yindi) and a descendant of the Managalili. Ritharrngu, Gupabuyngu and Gumatj clans.
The artist sings in both English and Yolngu Mata. His songs reflect a love for country and culture and his distinct perspective on the modern world.
A strong and prolific songwriter, Rrawun penned “Bayini”. This song gave his cousin/brother – the world-renowned Gurrumul Yunupingu – his first No.1 ARIA chart single.
He also performs with the legendary Yothu Yindi and fronts the Aboriginal rock band East Journey. The latter was awarded the 2015 MusicNT Song of the Year [in the Rock category] and 2014 ‘Film Clip of the Year’ at the National Indigenous Music Awards [NIMAs] for “Bright Lights Big City”.
His ability to transcend language and cultural barriers with his distinct resonance is an experience to be seen, heard and felt. No wonder he’s received several other accolades and nationwide recognition. For instance, in 2012, Rrawun was awarded the GR Burrarwanga Memorial Award for best new talent at the NIMAs.
In October 2016, he debuted his live solo set at the request of Rhoda Roberts for Homeground Festival at the Sydney Opera House. It was there that wider audiences finally witnessed the power of his extraordinary vocal resonance and the way he can affect a great space within and without.
Nick Wales comes from a different sonic world.
His electronic classical music is immersive, visceral and progressive. From empowering beauty to magnetic dark passages, the textural compositions inspire listeners across multiple art forms, including popular and classical music, contemporary dance, film, theatre and the visual arts.
Amongst his recent commissions are the ‘True Spirit’ score for Netflix, collaborations with Marina Mascarelle for Sydney Dance Company and Ballet de l’Opéra de Lyon France. He has scored several major Sydney Dance Company works in collaboration with artistic director Rafael Bonachela since 2012.
While Nick’s contemporary compositions are both challenging and abstract, his pop sensibilities are undeniable. Traversing all genres as a founding member of ARIA-nominated classical-fusion band CODA, he has also collaborated with Sarah Blasko for several years.
Rrawun and Nick have previously collaborated on various projects.
Their piece “Nyapillingngu Spirit Lady” from 2019, commissioned by the Sydney Dance Company, resulted in a win at the 2020 NIMAs for ‘Best Song in Language’.
Most recently, the two worked together with composer-pianist Sophie Hutchings for her new release on Mercury KX earlier in 2024. Nick has also co-produced Sophie’s A World Outside LP.
Their newest project, “Yolngu”, fuses the traditional sounds of Rrawun’s ancient Songlines [Manikay] with Nick’s electronic and classical sound worlds.
The song is a call to spirit from Rrawun to the Yolngu people of North East Arnhem Land for celebration and pride of their skin and custom. It also serves as a statement of the importance of cultural identity and all cultures walking together at an important time in our history.
According to Rrawun, “Yolngu people have a strong connection to each other and the land and environment of North East Arnhem Land. This connection forms their identity and extends to their family structure. The song pays homage to the ability to identify others who carry the same identity/structure and, in doing so, pay respect to their ancestral lore.”
Apart from the original version of “Yolngu”, the release features four dance floor-focused mixes.
Two of them are reconstructions by internationally acclaimed Sydney producer Deepchild – the production alias of Rick Bull.
A former Berliner, sound designer, DJ and university academic, he creates echo-soaked, sonically-dense techno and conceptual ambient work performed live in institutions spanning Berlin’s Berghain, the Sydney Opera House, Detroit “Movement” Festival, and countless club tours from Tokyo to Eastern Europe.
His work has received critical support from journals including The Wire, DJ Mag and Rolling Stone Magazine and has been remixed by a remarkable portfolio of electronica “legacy’ artists, including Deadbeat. He’s remixed himself for labels like Mille Plateaux, Future Classic, BBE, Affin and his own Seppüku Records.
Now based in Australia, with a residency at Sydney’s underground darling Club 77, Rick’s work has expanded organically into sound design commissions and composition for film, games, and music software companies, including Native Instruments and Arturia.
His ongoing obsession with ambient, granular and noise-heavy music, smeared with signature vocal fragments and welded to the insistent pulse of dub roots and culture, continues to inform an ever-dedicated approach to sound design for body music in strange times.
Despite all his accomplishments, Deepchild expressed his gratitude for being able to work with Rrawun and Nick. “What a privilege to work with such auspicious talent on this release! It has felt both magic and prescient to witness the threads tying together a mighty Yolngu Songman with one of my favourite Australian composers, and to be invited to dust this work with my own tone of bristling digital resistance”.
The two other remixes are the work of Nick Wales, who provided an insight of how the tracks are structured:
“Rrawun explained that the basis of the Yidaki (didgeridoo) rhythm is an integral rhythmic pattern used in Yolngu cultural practice. This rhythm formed the basis of each version of the song and links the song directly with Yolngu history and culture”.
All remixes channel the pride of the original version simply titled “Yolngu” into the club setting with immense power. They’ve recently been tested on summer dance floors and are proving to engage electronic music lovers across Australia.
Nick Wales also stated, “Our collaboration over the past seven years has been one of sharing his culture, stories and Songlines, opening my world to the grace and depth of culture of the Yolngu people. The sharing of this cultural richness is a privilege that I am eternally grateful for”.
So, here’s your unique chance to connect with Australia’s First Nations in an unusual musical setting. and help “Yolngu” spread to clubs and parties overseas if you can.
Here are more musical projects by Aboriginal artists:
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