Much like the ascending Koonyum Sun ushers in a new day in New South Wales, the record of the same name by world son Xavier Rudd carries a similar aura of refreshment, of rebirth.

From 2002's To Let, his first studio album, through to 2007's White Moth, Rudd gradually refined his globally-influenced collage of world music - a matchless mixture of reggae, funk, blues, folk, and nearly every other sort of song with the ability to stimulate people's spirits. With 2008's Dark Shades of Blue, though, the world was welcomed into a darker, more somber side of Rudd's music. The album was indeed musically rich, with an international influence still inherent; however, the overall aura carried a different tinge compared to that of his previous work. As he explains it, his musical output at that time may have been a slight glimpse of what was soon to come.

"Dark Shades Of Blue represented what was coming to me," explains Rudd, "and it was something that I didn't realize at the time. It was like I could feel the shudder of an earthquake, but I didn't know it was coming." That metaphorical earthquake manifested in the form of the most tumultuous year in Rudd's personal history, and one he was more than happy to put behind him when starting to pen Koonyum Sun.

The album marks a fresh, new musical and spiritual awakening for Rudd, perhaps most notably as it's his first with bassist Tio Moloantoa and percussionist Andile Nqubezelo under the unified banner of Xavier Rudd & Inzintaba. Though the trio has been performing together for many months, Koonyum Sun is their first collaborative collection of songs - a triangle of influence that carries a piece of each individual member, yet keeps them all connected. Thanks to the input of Inzintaba, there's a staggering amount of vigor to this release that Xavier Rudd fans haven't seen to date. There's also more vocal variation, with colourful harmonies in several different languages soaring atop the music.

"It's been the most inspirational musical experience of my life," shares Rudd about his writing with Tio and Andile. "We have an undeniable connection - musically, spiritually, and emotionally. I feel like they were sent to me." While trying to reconnect with the stream of positive energy that had lifted him prior to his arduous 2009, Rudd relied heavily on the fortitude of his newfound friends. "They basically held me up. They were such strong spirits to have around me during such a traumatic time." In fact, Inzintaba is the Zulu word for "mountains," and when he's with Tio and Andile, either playing or simply being, he feels as though he's "standing on a mountain."

The album was laid down at 301 Studios in Australia's Byron Bay, which Rudd believes to be "a beautiful part of the world," and there's no question that his pastoral surroundings have influenced his output. He absorbs energy and influence from anywhere on Earth his music may take him - influences that stay with him and build up his body of cultural, spiritual, and musical experience.

Over the last few years, he's graced stages at festivals around the globe, including the Bonnaroo Music Festival, Ottawa Bluesfest, The Great Escape, Bumbershoot, and Austin City Limits, to list a limited few. Indeed, where he's physically been has an immense impact on where he's musically going. He explains: "I've absorbed so much culture and energy from where I've traveled, and it becomes a part of me."

His musical output has always kept a consistent focal point, surrounding which is an ever-expanding pool of musical and spiritual influence that grows with each release. Koonyum Sun is the culmination of where Rudd wants to be musically, and along with Inzintaba, he's ready to make his music mobile once again. "I've never been more excited to tour," he says, and his fans are undeniably ecstatic about his assertion.

Rudd believes his music is a gift from his ancestor's and part of his journey is to share it and use it to connect with others. With Koonyum Sun, he's poised to re-link with old and new listeners alike, and couldn't be more eager. He says: "If they can feel that connection through my music, then I feel like I've truly given it my all."

Interview by tosnob

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Australian world musician Xavier Rudd has built himself a strong, loyal following with his laid back, socially conscious songs. I recently had the opportunity to speak with him in advance of his tour. Here's what went on:

T.O. Snob: First of all thanks for doing this.

Xavier Rudd: No worries mate.

T.O. Snob: You're coming up to Toronto on the 20th & 21st, how is your show this time around going to differ from what we've seen from you in the past?

XR: I'm traveling with two African musicians who are incredible. So it's going to have a sort of African vibe, some more of the same. It's me and a couple of African dudes and some new sound and sort of playing around a bit too. I really like coming to Toronto.

T.O. Snob: We're used to seeing you in a festival setting, I know your sets at Ottawa Bluesfest are highlights of that. What do you prefer: the festival or something more intimate like the theatre like this will be?

XR: I like both of them. I really don't have a preferred option, I just like playing. I'm so lucky. In the festival people are outside and I know they're looking forward to it. People are out in the sunshine and having fun.

T.O. Snob: The new album, Koonyum Sun, is fantastic. How has your songwriting process changed from when you started until now?

XR: I don't think it's really changed. I think it's been the same since I was 9 or 10. It's just whatever comes from my heart. It comes down and however it comes out it becomes a song. It's still the same now, I just have more instruments and more knowledge.

T.O. Snob: When you're writing a song, you have very elaborate arrangements and you obviously put a lot of thought into the meaning of your lyrics. To you is there one element of a song that's most important or that you focus on the most?

XR: No it's all really important to me, the whole process. Everything has it's place. The music helps shape the story. The lyrics have to portray what's in the noise and space. They have to stand next to each other well.

T.O. Snob: Changing gears just a little bit, I know you do a lot of work with groups like Sea Shepheard, so I just wanted to get your thoughts on what's going on in the Gulf of Mexico right now.

XR: What I'm passionate about right now is The Kimberley in northwest Australia. It's very much a World issue. The Western Australian government is trying to put 10,000 hectares of industry on the Kimberley tribe's land. It's got the world's oldest rock art, the oldest depictions of human life in the world, no known extinctions. The list goes on and on and it's under major threat right now. It's one of the biggest environmental issue in the country as well as aboriginal land politics.

T.O. Snob: We obviously face a lot of the same issues in Canada, sharing a similar history. What do you think the biggest similarities and differences are between Canadians and Australians?

XR: I've always understood there to be a spirit that's reflected in the people regardless of their culture, their heritage, their background. Anyone who exists shares that spirit. I feel that Canadians, Australians have a similar aboriginal spirit no matter what their background is.

T.O. Snob: I know your time is short and I appreciate you doing this, so I'd like to give you one last chance to say whatever you'd like to your fans in Toronto before they see you.

XR: I've been hanging with a woman from Toronto who is a very passionate activist about the Kimberley. Learning about the place and she's going to make some noise up there about it. It's nice to have that energy around. I'm just looking forward to getting there.

T.O. Snob: Thanks again and good luck on the tour and a great album.

XR: Thanks I appreciate the support.