INTERVIEW: http://://www.thefader.com/2013/10/15/fader-mix-perera-elsewhere

Perera Elsewhere FADER Mix

Perera Elsewhere is back with her first new album in five years. Entitled 'Home', the forthcoming record – due out on LA-based label Friends of Friends – sees the experimental 'doom-folk' artist born Sasha Perera exploring an even freer sound than she’s previously pursued, across records such as 'All of This' and 2013’s 'Everlast'. 

Weighty, meditative and fit to blast a hole out your speakers, her Crack Mix is a fine reconciliation of her wide-ranging interests, skipping between the jazz styling of Shabaka Hutchings and the seductive club sounds of Leonce via pacy thrillers from Nia Archives, DJ Hype, Miss Red and more. Strap in for the ride.

Check out the tracklist on crackaud.io:  crackm.ag/3AXsOSm
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Crack Mix 465: Perera Elsewhere

A LARGE SHEET OF MUSCLE – MOLECULAR DRACULA
Ta mTa Gwarliani – Sleepy
Emeka Ogboh – Ayilara
Born Under A Rhyming Planet – Skyway
Lamin Fofana – Shafts Of Sunlight
J. Albert – Too Proud
Charles Curtis – Music For 'Lester'
Zeet – Zete
Ana Roxanne – Suite pour l'invisible
Han – Read About Sanctions
Matt Carlson – Mockery Of Life
Vanligt Folk – Pigskin Shoes
Gonçalo F. Cardoso – Corpse Flower or The Putrid Rafflesia Song
Treasury Of Puppies – Bränna, Känna
Robert Haigh – Signs Of Life
Nozomu Matsumoto – Filippo Pacini
Dane Law – We Leave This Morning With The Dogs For Hope Point
Ssabæ – Azurescens
Rotten Apples – Crystals Of The New Age

TTT NTS 12.12.22

TTT BANDCAMP

Taken from SBKT055: TRANCE BAND - Entrancing
Release date: 3rd March 2023

In a global landscape that increasingly prioritizes individuality over collaborative expression, TRANCE is a distinctive project. Initiated by Chinese multidisciplinary artist Tianzhuo Chen, best known for his work with Asian Dope Boys, TRANCE is as artistically amorphous as its constantly evolving line-up, that fluctuates as it shimmers across borders and time-zones. In 2019, the project was demoed in Beijing as part of a solo exhibition from Chen, a 12-hour durational performance that examined the altered states of living and dying and pondered the sounds, sensations, bodies and spaces that notion might suggest. On hold for three years due to COVID-19 restrictions, TRANCE was eventually premiered in Hamburg at the Kampnagel Theatre last year where it was presented as a surreal three-day ceremony. This time around the Trance Band was made up of Berlin-based noisemaker and vocalist Dis Fig, Indonesia's Gabber Modus Operandi, musician and MC KIM KHAN, guitarist and engineer Felix-Florian Tödtloff, and Vancouver-based percussionist and producer CITY. Chen directed the show, channeling each artist's unique energy into an alliance that highlighted their independent skills while pushing towards ideas that simply couldn't have been realized discretely.

"Entrancing" is a live documentation of that incendiary Hamburg session, powered by the performative fireworks that came from having the project halted for two years before it was allowed to burst into life once more. Just as with previous iterations of TRANCE, the space was terraformed into an alien landscape that allowed the collective to enact a carnivalesque display that was tightly controlled but creatively boundless. Musical u-turns were accompanied by monumental stage overhauls that reshaped a muddy, fog-filled outdoor riverscape into an arena, or a sweaty nightclub. This theatrical impact can't be visualized as clearly on the record, but musical cues do just enough heavy lifting to provide a tantalizing contour. When the alluring electro-acoustic plucks and resonant sustained string tones of 'There's a Ghost in the Lantern' cascade into cinematic drone metal on 'Ylva's Theme', it's impossible not to be drawn into the TRANCE narrative. Sonic stage lights flicker with uncommon intensity as the nebulous group rewrite their collective personal stories into stirring, synergistic poetry.

"Something changes!" KIM KHAN calls out on 'Soft and Black', cutting through warbling synths and itchy beatbox percussion. The track builds quickly, reaching a sizzling crescendo of buzzsaw noise and acidic electronics. It's a stylistic sea change that channels the group's kinetic energy into a rock show, and CITY picks up the message on 'Trance Genesis', adding rapid-fire drums to a barrage of guitar skronk. 'Shaolin Affliction' glues Trance Band's jagged artistic edges to a vintage metal template, gradually dissolving into throaty post-hardcore, while 'My Fortress' brings the show to a powerful conclusion with Dis Fig assuming the role of grunge balladeer, bellowing into the void over cacophonous live instrumentation. Unbound by musical and artistic conventions, TRANCE peers out from the basement, the gallery and the playhouse to forge an expression that's all of this and something new entirely. It's refreshing, witty, exhilarating and most of all, completely unpredictable.

Entrancing

Dis Fig - Doll Parts [digital only]

Bie Mu - Jaij Hollands, K Weezy & Kwamz & Flava (#IrayMVMT x #Coast2Coast) #OnlyAfrobeats

Project Mohawk #8

Septima

KWAMZ And FLAVA - Stop Stalling Ft STARBOYWILLZ OMOI & SK

Everlast

Drunk Man

buy on alphacut.net

randomer - down in the woods (acr 009, 12")

60 min of mainstream afro/caribbean vibes broadcasted live on clubhouse-global.com on April 11 2020

RIP CARNIVAL/OUTSIDE 2020 (live) @ Clubhouse-global.com • April 11 2020

Ugandan rapper MC Yallah joins Phantom Limb for the release of her blistering new 12” Mama Waliwamanyii. Produced by Irish electronic artist Eomac (one half of R&S Records’ Lakker), the EP fuses Yallah’s breakneck Luganda language rapping with Eomac’s powerful, purposeful beats.

Formed remotely between Dublin and Kampala, Mama Wailwamanyii represents several months of work, sending beats, loops and song-stems back and forth until the results boiled down to the two vital cuts of exhilarating, experimental, unpredictable hip-hop that make up the EP. 

Opening with urgent descending synth lines, ‘Mama Waliwamanyii’ rushes Yallah’s rhythmic vocal style to the forefront, bristling with kinetic energy. The song references her mother - its title translates to “Mama, you were strong” - and a sense of fierce, feminine intensity pervades throughout, a deep personal meaning that kicks as hard as the beats. The track is destined to intoxicate dancefloors across the world, perfectly sculpted by Eomac to rise and fall with breathless ecstasy one moment and send the heart racing with expectation the next. Yallah wrote the track after losing her mother, who raised her and her siblings alone following their escape from the domestic violence of their home life in Kenya. She writes that the studio session evoked floods of tears. That raw, expressive power shines through.

On the flip, ‘Kakana’ is darker, more patient. Eomac’s spacious, creeping synth lines burn and glower with simmering anticipation, while Yallah’s delivery fills in the percussive gaps with machine-gun poetry. It acts as a neat foil both to ‘Mama Waliwamanyii’ and to Yallah’s previous material, positioning her contribution to the collaboration as a colourful, flowing solo over the greyscale, psuedo-industrial sonics laid down by Eomac. A call to arms, the title translates to “calm down” in response to the criticism Yallah has faced as an outspoken, independent MC in her local scene.

The EP also features extended mixes of both tracks as instrumental versions specially created by Eomac, transforming them into a mutant, warped techno with entirely different personalities to their vocal takes.

MC Yallah is Kenyan by heritage, but born and raised in Kampala, where she is a key member of the much-celebrated Nyege Nyege crew. Her debut release - a collaboration with French producer Debmaster - surfaced in 2018 on Nyege’s Hakuna Kulala imprint. Björk recently picked up on the Yallah phenomenon, spinning her tracks in DJ sets and mixes.

Eomac (Dublin-based producer Ian McDonnell) is one half of Phantom Limb favourites Lakker, whose pitch-black avant-techno graces both dancefloors and experimental music venues the world over. His solo records - including the vital 2016 album Bedouin Trax LP of Middle Eastern samples, released on the UAE’s Bedouin Records - are favourites of Phantom Limb’s A&R team.

The EP is released on highly limited purple vinyl and digital formats on July 3, 2020.

MC Yallah & Eomac - Mama Waliwamanyii

Multi-award winning experimental pop auteur, Sasha Perera aka Perera Elsewhere is a producer, musician, songwriter and DJ who has garnered critical acclaim from Pitchfork, NPR, BBC, FADER, Vogue, KCRW and many more. Her use of technology to create and to experiment with her voice, lyrics, trumpet, percussive beats, bass frequencies, sound design and existential ideas all led to what fans and press initially coined the ‘Doom-Folk’ sound of the Perera Elsewhere project. She found a home on Los Angeles based label Friends of Friends where she has released 3 albums that have seen her sonic imprint graciously evolve. Her music evokes a hybrid of comparisons such as Mica Levi, Dean Blunt, Jon Hassell and Massive Attack.
Journeys have punctuated Perera Elsewhere’s life perspective and career, taking her from London’s vibrant club scene to Berlin’s bass experimentalist underground. All of which developed her shapeshifting approach to music. Elsewhere, but always rooted. No matter where Perera has found herself musically–from live shows & DJ sets at institutions such as Berghain, the Guggenheim, the Hamburg Philharmonic, Sonar Festival and Boiler Room.
Her music has been licensed for Ava Du Vernay’s ‘Queen Sugar’ series, by Oscar winning director Paolo Sorrentino for his ‘Loro’ film and recently by Apple for the promotional launch of their faster than ever M2 chip.
A true multi-hyphenate, Perera’s open and autodidact technique is also highlighted by a long list of side releases, collaborations as well as bespoke compositions for moving image, theatre and audio-visual installations for leading global institutions such as Bass Museum Miami (2022 and ZKM in Karlsruhe (2024). She produced 4 songs for German icon Nina Hagen’s recent album (2023).
Perera Elsewhere won ‘Best Act ’at the VIA awards 2022, the only independent award for musical innovation in Germany. She also won Sony Music Germany’s ‘Female Producer Award’ in 2024.
Perera’s published works have led to invitations by renowned institutions such as Ableton, Native Instruments, Yale or Berlin’s University of Arts and the award- winning Errrormusic programme to share her creative knowledge via studio sessions, workshops, teaching, and mentoring.   Sasha has also worked with the British Council and Goethe Institute as an artist and co-curator or mentor on music projects and music-tech education initiatives across Asia and Africa .  She recently composed the sound for a Kampnagel dance/ theatre production titled' Reparation Nation.'  Perera Elsewhere is clearly at home in many places.

Bookings : andrea@worldrhythm.net
Licensing / sync : leeor@fofmusic.net 
Composition/ remixes / other projects : info@pereraelsewhere.com 

 www.pereraelsewhere.com

Drunk Man

Perera Elsewhere

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