April 1, 2017
Let me introduce you to Natasha, known professionally as Tash Sultana, a Australian one-woman band that takes multitasking to the next level with her seemingly endless musical range of guitar playing, looping, percussion via a range of means, mandolin, piano, flute, trumpet, beat boxing, electronic arrangements and her exquisite vocal delivery, which runs the gamut from throaty to fairy-esque.
The solid foundation of her songs is reggae-folk and independent electronica with a myriad of sophistically arranged and orchestrated layers of dreamy soundscapes that weave in and out of and permeate the DNA of her songs.
Fully immersed in her performance both physically and metaphysically, the self-taught twenty-one old channels something ethereal that transfixes herself and sends the audience in a trance-like state.
Petite in statue, Tash performs with a warm, unpretentious confidence, self-evidence and ease that suggests a priori that she was born to do create her very own lane.
What sent goosebumps to your humble narrator is when Tash delved into psychedelic and incendiary guitar based-funk territory and solo arrangements that seem reminiscent of Funkadelic, John Frusciante, The Parliament: Mind-melting, culminating in an emotional apocalypse of sound with a heavy emphasis on melody, tone and structure that suggests that her doors of perception are wide open as her emissions stimulate synaesthesia and transcendence.
In a previous life during an exercise aimed at spiritual development and generating the divine within, Björk delivered the appropriate soundtrack, navigated and grounded the mental excursion when the going got rough. I am confident that Tash Sultana’s music would do an equally expert job as the fact that she seems to find peace of mind in what she is doing transpires to the listener.
You want to catch Tash before she becomes the global success she is bound to become.
Photos by KAVV
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