Tash Sultana has announced the official release date for their forthcoming sophomore album ‘TERRA FIRMA’, set for release on February 19, 2021 via Columbia UK / Sony Music Entertainment. In line with the announcement, Tash has teamed up with fast rising Melbourne artist Jerome Farah to deliver a soul powered new single ‘Willow Tree’ filled with thundering trumpets and shimmering guitar lines.
“There ain’t no fast pass up the mountain and you’ve got to clock the hours in to achieve the things you want in life,” explains Tash. “You can’t just skip the entire middle section of your journey to try and rush to the finish line. Whatever that may be for you. There is no use comparing yourself to someone else’s success. It’s your time when it’s meant to be and it’s only meant to be if you get up day and night and strive for the things you want. No one’s going to serve it to you on a golden platter, you’ve got to get it yourself.”
The forthcoming album ‘TERRA FIRMA’ is set to be the sound of a more content and grounded Tash. Spiritually, the album finds the artist reconnecting to their roots, reminding themselves who they are and what it means to be human. Musically, however, its 14 tracks take root into far-reaching sonic territory.
Almost every note on TERRA FIRMA was once again composed, arranged, performed, engineered and produced by Tash. But to kick-start a new era, the solo star – for the first time – opened themselves up to collaborators, starting with a 10-day writing session with fellow ARIA-winning Australian musician Matt Corby and producer Dann Hume (Courtney Barnett, Amy Shark, Angus & Julia Stone).
“Matt was very helpful for me at the beginning of this process, because I was experiencing writers block,” Tash explains. Together, they crafted lead singles ‘Pretty Lady’ – an infectious tune kicking around since Tash’s busking days – and ‘Greed’. ‘They only give a shit when you make it big,’ Tash sings in a soul-funk examination of the corrupting influence of wealth and fame.
Corby also assisted on the richly detailed ‘Beyond The Pine’, in which Tash intones ‘I need you to save me because I can’t save myself,’ and ‘Crop Circles’, a rumination on death disguised by its smoky, minimal piano licks and horns.
