The Awe-Inspiring Casio-Gospel Sound of Keanu Nelson’s ‘Wilurarrakutu,’

Last fall, the Australian label Altered States Tapes released the debut album by Keanu Nelson, an indigenous musician with a strikingly soothing vocal tone and equally beguiling way around his synth. Called Wilurarrakutu, it’s one of those records that hits like a lightning bolt, with a before-and-after shock that changes your body chemistry. The first vinyl pressing quickly sold out.

At times recalling Francis Bebey’s meditative synth-beat labyrinths, at others (“Warumpinya) as if Nelson’s singing over an early Suicide instrumental, and still others like he’s Timmy Thomas from another planet, Nelson envelops his rich, textured tenor with enough reverb to create a lingering drone. Although these aren’t musically complicated songs — many move through a few simple, repetitive chords without much variation — Nelson’s dynamic, textured voice effortlessly eases across and through bars with memorable melodic grace.

Combining Casio-tone gospel sounds with reggae-adjacent rhythms that, according to release notes, are inspired by tracks “mysteriously distributed in community via USB sticks and phone transfers to be played on TVs,” Wilurarrakutu blends the sacred and the secular, the traditional and the contemporary, creating buoyant songs sung both in his native Luritja and in stilted English. Often Nelson moves between the two, interjecting an English word or phrase before sliding back to Luritja.

Nelson’s creations extend beyond music. As a painter, the artist taps into a long tradition of Aboriginal visual storytelling. That most Westerners — or non-Australians — know nothing of these traditions makes Wilurarrakutu something more than a mere album. For those of us ignorant of indigenous Australian communities, it’s a window into a creative realm far removed from our own experience.

Nelson went public with his art in 2019, when he joined the Papunya Tjupi Arts Centre and began showing his paintings. His drive for expression may be genetic; his grandfather is the Aboriginal Australian painter Michael Nelson Tjakamarra, known for his work as part of the Western Desert movement, a style of contemporary Indigenous Australian art that earned its first major attention in the 1970s and ‘80s.

“Keanu grew up in Papunya Community and went to Papunya School. Keanu started painting in 2019 as part of the art centre’s Men’s Art and Cultural Revival movement with the opening of their men’s space,” notes the school on its Facebook page, adding that the musician “comes from a strong and historic artistic family.” (“What a talented guy! Voice of an angel!” says one excited commenter on Facebook.)

Release notes, written by Altered States Tapes founder Cooper Bowman, outline the journey that resulted in the creation of Wilurarrakutu.

I was fortunate enough to briefly connect with Keanu while visiting his home, the remote community of Papunya, late last year. Our visit happened to be well-timed, as Keanu turned up unexpectedly one afternoon to accept Paloma Pizarro’s offer of jamming with her partner, Yuta Matsumura, who we happened to be staying with. I was lucky enough to see ‘Family’ take shape before my eyes/ears in the space of a couple of hours. The song would continue to ring through my head, for the remainder of my time in the NT, and more generally in the time since. Even in the brief moment I encountered Keanu, I could tell that he was a one-of-a-kind personality and I hope that this same spirit connects with people through his songs.  

So many people have connected to Nelson’s work that Wilurarrakutu is getting a Stateside repress. The excellent Portland, Oregon label Mississippi Records is rereleasing the album, and we’ve secured some copies that we’re offering as pre-sales. The record is expected to ship in early fall.

Preorder Keanu Nelson’s Wilurarrakutu here.