Kaya Project – Firedance

English / Polish version

Kaya Project - Firedance
    Kaya Project

      1. Umrah (feat. Irina Mikhailova)
      2. Firedance
      3. Through the Flames
      4. Pethadin Beats
      5. One Hundred Lights
      6. Tears Fall Like Ash
      7. Todora (feat. Irina Mikhailova)
      8. The Pillar of Fire
      9. Firestorm
      10. Smoke Signals
      11. Flicker
      12. Katarino (feat. Irina Mikhailova)
      13. The Phoenix Rises


Do you like projects that in their productions combine uptempo with downtempo, electronic music with instrumental inserts, the ones which reconcile the modern solutions with some primary motives? Do you find interesting the music that has the power of influence that you cannot sit in one place, without moving even a little finger in your foot? Do you admire the artists, in whose works you will find the colour not only in their music, but in their whole setting of the performances they make, in the graphics of albums’ covers? If even half of your answer to my question is yes, I invite you to listening to the album FIREDANCE, coming from May 2014, which can be summarized as a culmination of ten years of the Kaya Project work and activity. Let’s dance the firedance or literally, looking at the cover of the album – let’s dance in the fire?

Four years after the release of the album DESERT PHASE, Seb and Natasha Taylor once again prove that they are masters at creating a tribal climate, just like from the distant lands, in which we soak through the tribal inserts, the vocal of Irina Mikhailova, the sounds of flute and other instruments. In the year 2014 thanks to Interchill Records their fifth album, FIREDANCE has been released, and I was lucky that a lot of its tracks I have heard during their live performance at the Boom Festival in August in the same year. I remember the tingle on my hands when Irina using her mesmerizing voice sang Katarino; I also cannot forget the extent to which their performance absorbed me, as usual, at the highest level. When I replayed in turn the tracks from the new album, the memories of the summer came back, and I missed a festival dance, whether in direct sunlight or in the moonlight, or at the burning candles and smoldering incenses. I distinctly remember the moment, when we sat with friends on a small hill near the chillout scene at Boom, and the sun was going down and then the music served by Kaya Project was floating from the speakers. These sounds, coupled with the housing in the form of some active festival-goers spinning with poi and some other juggling objects, and those lazy ones lying, sitting and strolling around after a hot day, make me remember with particular fondness this specific performance of Kaya Project, in which the tracks from the album FIREDANCE sounded. The time of Kaya Project’s performance could not be better – the tracks of the album FIREDANCE fit best to the sun, and then to the starry sky, to the moonlight and the whole night conditions of the festival (with all the candles, lanterns, small outbreaks, fragrant masala chai, smells of the incenses and more). When I look at the cover of this album, which was once again created for Kaya Project by Suzanne Brady, I feel that like the two dancing women, I would jump into the fire, because I know that this is not this kind of fire that burns us, digests us outside and from the inside, but this is one that has the power to liberate us what originally is in us – something hidden somewhere deep, and to which we have access only in moments of purification through the art. In my case, such a cathartic experience happens while I am listening to the works of Kaya Project. I love this kind of aesthetics and approach to music.

Although Seb Taylor is really focusing in recent years on the job for television – he makes the music for commercials, he is the author of the music for the BBC natural document 'Buddha, bees & the giant hornet queen’, I know that the ideal place for revealing his artistic ability are the scenes of trance festivals. Someday, I would like to see the performance of Kaya Project by a dazzling, huge fire, around which there would be all those would express their emotions using ecstatic, tribal dance, exactly as it was in the case of so many of our ancestors at different ends of the Earth. The dancing has always accompanied people just in order to purify their souls, to reveal what was hidden. The dance, to which Kaya Project encourages us, is carried out in a blaze of fire so that none of us dancers, could not hide their emotions, states, sensations under cover of night, somewhere in a dark corner, in a place to which no one else has an access. The light, which the fire gives, allows us all to look deeply into each other’s eyes and see that despite the differences between us, we really have the similar feelings, fears, joys – that communication can be seen best in the dance. It is essential that you all let yourself get caught up in FIREDANCE with Kaya Project – I wish it works for you as for me.

7 / 10