Search Results for:
GAZELLE TWIN
This reissue celebrates the 10th anniversary of Gazelle Twin’s second album, Unflesh. Featuring new artwork by Grammy award-winning design agency Barnbrook, and on limited edition blue vinyl for the first time.
The Quietus’ Album of the Year in 2014.
“A rich, dark and gorgeous album, bristling with sonic challenge and literary depth” 8/10 - UNCUT
"Strange and beautiful" 4/5 - Q Magazine
"This album, with its pristine interiors, captures the intimacy of her trauma perfectly. It’s an immaculate as a hotel in a JG Ballard novel, and just as bloody scary." 9/10 - Pop Matters
"Unflesh is at times a disturbing and upsetting listen, but it is also a triumph of will over circumstance.” 8/10 - Music OMH
“Unflesh is a truly brilliant piece of work, and the sound of an artist trailblazing through as yet uninhabited territory.” 8/10 - Drowned in Sound
“Weird and wonderful and quite literally the sound of pure fear” 4/5 - Artrocker (Album Of The Month)
The Quietus’ Album of the Year in 2014.
“A rich, dark and gorgeous album, bristling with sonic challenge and literary depth” 8/10 - UNCUT
"Strange and beautiful" 4/5 - Q Magazine
"This album, with its pristine interiors, captures the intimacy of her trauma perfectly. It’s an immaculate as a hotel in a JG Ballard novel, and just as bloody scary." 9/10 - Pop Matters
"Unflesh is at times a disturbing and upsetting listen, but it is also a triumph of will over circumstance.” 8/10 - Music OMH
“Unflesh is a truly brilliant piece of work, and the sound of an artist trailblazing through as yet uninhabited territory.” 8/10 - Drowned in Sound
“Weird and wonderful and quite literally the sound of pure fear” 4/5 - Artrocker (Album Of The Month)
In her three studio albums to date, Gazelle Twin has looked out: out at cities, out from a tormented body, out at the squirming guts of rural Britain, but on her first album for new label, Invada Records, she turns her gaze inwards. Black Dog is an album about confronting fear, and the expectation that the things that lurked in the darkness when you were a child will disappear as you become an adult.
Black Dog tells a story that unfurls like a film. It addresses how our childhoods shaped our adulthoods: how any sense of trauma and grief is burnished onto a person’s memories forever, however much we try and escape it. Black Dog suggests how these feelings return in particular intensity when a person becomes a parent, as they watch themselves pass things on that they wish they hadn’t, wish they wouldn’t.
In some ways, Bernholz is purging herself on this album. Unlike her masked characters for previous releases, her face is recognisable and, she explains, she is “not as removed this time” from her persona. She is imagining herself as a medium for the voices inside herself, rather than looking out to displace them with other ideas. She emerges huge and godly as she does so, her voice moving from delicate tenderness to doom-driven power.
This is an album where old stories have to be pillaged, digested, and regurgitated to write new ones, where we have to question ourselves utterly. Black Dog looks back and looks in and looks back and looks in. We enter as we listen. We turn ourselves inside-out altogether.
Black Dog tells a story that unfurls like a film. It addresses how our childhoods shaped our adulthoods: how any sense of trauma and grief is burnished onto a person’s memories forever, however much we try and escape it. Black Dog suggests how these feelings return in particular intensity when a person becomes a parent, as they watch themselves pass things on that they wish they hadn’t, wish they wouldn’t.
In some ways, Bernholz is purging herself on this album. Unlike her masked characters for previous releases, her face is recognisable and, she explains, she is “not as removed this time” from her persona. She is imagining herself as a medium for the voices inside herself, rather than looking out to displace them with other ideas. She emerges huge and godly as she does so, her voice moving from delicate tenderness to doom-driven power.
This is an album where old stories have to be pillaged, digested, and regurgitated to write new ones, where we have to question ourselves utterly. Black Dog looks back and looks in and looks back and looks in. We enter as we listen. We turn ourselves inside-out altogether.
TRACK LISTING
1. I Disappear
2. Sweet Dream
3. Black Dog
4. Fear Keeps Us Alive
5. The Long Room
6. Two Worlds
7. Unstoppable Force
8. This House
9. Author Of You
10. Walk Through Walls
11. A Door Opens
GAZELLE TWIN - aka composer, producer, singer, and visual artist Elizabeth Bernholz - has scored Sky's brand new TV series "Then You Run".
The score is pressed on white vinyl, and housed in a deluxe spined sleeve with download card.
Created for television by Ben Chanan (The Capture), based on the novel YOU by Zoran Drvenkar, Then You Run follows four rebellious London teenagers on a city getaway to Rotterdam. This contemporary eight-part series boasts an incredible cast of rising stars; Leah McNamara (Normal People) as Tara, Vivian Oparah (Rye Lane) as Stink, Yasmin Monet Prince (Hanna) as Ruth and newcomer Isidora Fairhurst as Nessi.
The four friends embark on what should have been the perfect summer break which soon spirals into a dark and perilous adventure. When their attempt to take on some of the most dangerous people in Europe doesn’t quite go to plan, they find themselves on the run with three kilos of heroin, more questions than answers about Tara’s family, and a gang of deadly criminals tracking their every move.
The score is pressed on white vinyl, and housed in a deluxe spined sleeve with download card.
Created for television by Ben Chanan (The Capture), based on the novel YOU by Zoran Drvenkar, Then You Run follows four rebellious London teenagers on a city getaway to Rotterdam. This contemporary eight-part series boasts an incredible cast of rising stars; Leah McNamara (Normal People) as Tara, Vivian Oparah (Rye Lane) as Stink, Yasmin Monet Prince (Hanna) as Ruth and newcomer Isidora Fairhurst as Nessi.
The four friends embark on what should have been the perfect summer break which soon spirals into a dark and perilous adventure. When their attempt to take on some of the most dangerous people in Europe doesn’t quite go to plan, they find themselves on the run with three kilos of heroin, more questions than answers about Tara’s family, and a gang of deadly criminals tracking their every move.
TRACK LISTING
History (Extended Version)
Then You Run
The Pool
Daydream
Stink's Deal
Uncle Reagan
Teamwork
Stand Off
A Great Artist Knows When To Stop
For Mirko
Herd
Two Minds
Closer
Fingertip
The Hotel
I Know Him
Death Drive
In The Blood
Summer's Not Over
In 2011 Gazelle Twin self-released ‘The Entire City’, a debut album that gathered rapid acclaim and sparked a decade of creativity during which its creator, Elizabeth Bernholz has built big upon her foundation of dark, cinematic energy. The album is now set to be reissued on deluxe CD, together with ‘The Wastelands’, a mini “twin” album of material made around the same period, though never released commercially. Where 'The Entire City’ remains intact with its original master and tracklisting, ‘The Wastelands’ expands on this shadowy, futurescape, featuring foreboding, percussive songwriting, with euphoric choral swells. The release features the captivating photo collage artwork of British artist, Suzanne Moxhay
TRACK LISTING
1 The Entire City
2 Concrete Mother
3 Men Like Gods
4 I Am Shell I Am Bone
5 Far From Home
6 Changelings
7 Bell Tower
8 When I Was Otherwise
9 Obelisk
10 Nest
11 Fight-or-Flight
12 View Of A Mountain
CD Version - CD 2 The Wastelands
1 Wastelands
2 Adrenalin
3 Hole In My Heart
4 Ascent
5 The Future
6 I Hear You Call
'The Wastelands' is an album of material made around the same period as 'The Entire City' though never released commercially. The album expands on 'The Entire City's shadowy, futurescape, featuring foreboding, percussive songwriting, with euphoric choral swells. 'The Wastelands' also features the captivating photo collage artwork of British artist, Suzanne Moxhay.
TRACK LISTING
1/Wastelands
2/Adrenalin
3/Hole In My Heart
4/Ascent
5/The Future
6/I Hear You Call
Gazelle Twin’s incredible electronic score to horror film “Nocturne”, released as part of the Welcome To The Blumhouse series.
Includes previously released tracks by Gazelle Twin “Unflesh” and “Belly Of The Beast”.
The score is pressed on clear vinyl and housed in a deluxe spined sleeve with digital download card included.
‘The director wanted there to be a strong appearance of feminine rage featuring heavily in the score, building around the classical pieces,’ says Gazelle Twin. ‘She wanted to use some of my existing tracks, “Unflesh” and “Belly Of The Beast”, in a couple of scenes, so I took leave from the vocal style of “Unflesh”, which has a lot of strong chest singing inspired by Bulgarian Folksong. It became a motif that the music editor, Shie Rozow, weaved throughout the film for those especially fierce moments. Then there’s the ‘dread drones’ that haunt the whole score, getting more and more intense.’
Includes previously released tracks by Gazelle Twin “Unflesh” and “Belly Of The Beast”.
The score is pressed on clear vinyl and housed in a deluxe spined sleeve with digital download card included.
‘The director wanted there to be a strong appearance of feminine rage featuring heavily in the score, building around the classical pieces,’ says Gazelle Twin. ‘She wanted to use some of my existing tracks, “Unflesh” and “Belly Of The Beast”, in a couple of scenes, so I took leave from the vocal style of “Unflesh”, which has a lot of strong chest singing inspired by Bulgarian Folksong. It became a motif that the music editor, Shie Rozow, weaved throughout the film for those especially fierce moments. Then there’s the ‘dread drones’ that haunt the whole score, getting more and more intense.’
TRACK LISTING
1. Moira’s Sacrifice
2. Juliet’s Rage
3. The Book
4. Invocation
5. Belly Of The Beast
6. Assurance
7. Golden Light
8. Purification
9. Triumph
10. Consummation
11. Unflesh
12. Blood Sport
13. Vivian’s Fall
14. Juliet’s Sacrifice
Gazelle Twin and Max de Wardener’s score to “The Power”, directed by BAFTA nominated director Corinna Faith.
Taking about the soundtrack, Gazelle Twin expands, “Working on The Power with Corinna and Max didn’t feel much like work. It was a long haul thrill, from our field trip to the derelict wing of Goodmayes Hospital to record squeaky trolleys and smashed pill bottles, to making countless experiments with samples, voice, and electronics, pushing them in every extreme direction we could think of. The results bring me a lot of joy. I hope the collaboration continues.”
Max de Wardener goes on to say, “For this score we tried to match Corinna’s terrifying vision of the dark by creating music that was both as ambiguous as it was frightening. Keeping the palette small to increase the feeling of claustrophobia, this ranged from quiet dusty out of focus sounds, to full blown dense vocal textures with pounding synths to evoke our primal fear of the unknown. Gazelle Twin’s brilliantly inventive approach to vocal music became such an important part of the film.”
Summoning the spirit of classic ghost stories such as Susan Hill’s novel The Woman in Black and the intense psychological atmosphere of Dario Argento’s Suspiria, The Power is set in a crumbling East London Royal Infirmary in 1974.
Taking about the soundtrack, Gazelle Twin expands, “Working on The Power with Corinna and Max didn’t feel much like work. It was a long haul thrill, from our field trip to the derelict wing of Goodmayes Hospital to record squeaky trolleys and smashed pill bottles, to making countless experiments with samples, voice, and electronics, pushing them in every extreme direction we could think of. The results bring me a lot of joy. I hope the collaboration continues.”
Max de Wardener goes on to say, “For this score we tried to match Corinna’s terrifying vision of the dark by creating music that was both as ambiguous as it was frightening. Keeping the palette small to increase the feeling of claustrophobia, this ranged from quiet dusty out of focus sounds, to full blown dense vocal textures with pounding synths to evoke our primal fear of the unknown. Gazelle Twin’s brilliantly inventive approach to vocal music became such an important part of the film.”
Summoning the spirit of classic ghost stories such as Susan Hill’s novel The Woman in Black and the intense psychological atmosphere of Dario Argento’s Suspiria, The Power is set in a crumbling East London Royal Infirmary in 1974.
TRACK LISTING
First Day
Prayer In The Dark
Dream Come True
On Trial
Basement
Intensive Care
Ashes
Dark Won’t Hurt
Possession
Dark Shift
Nothing Happened
Black Pages
Babs’ Eyes
Gail Returns
White Sheets
Rescue
Confrontation
Revelation
Descent
You Will Listen To Us
The Well
Rooted in English pagan and sacred music, Deep England is an electronic-choral expansion of Gazelle Twin’s 2018 album Pastoral (Anti-Ghost Moon Ray). Here, tracks from Pastoral, an album whose political themes have only intensified since its original release, are radically reworked and presented alongside original compositions by NYX, Paul Giovanni and William Blake.Gazelle Twin (aka Elizabeth Bernholz) and NYX, the electronic drone choir reshaping the role of the traditional female choir, originally created Deep England for live performance with Movement Director Imogen Knight, Sound Associate Peter Rice and Designer Chloe Lamford. The performance, described by The Times in their 4* review as a “spellbinding febrile techno-pagan pageant”, premiered at the Queen Elizabeth Hall in November 2019.
Deep England was transferred to the studio soon after, and the resulting album shows a powerful and often dreamlike Jarman-esque depiction of a country divided by its many selves. The performers are Adélaïde Pratoussy, Cecilia Forssberg, Elizabeth Bernholz, Natalie Sharp, Ruth Corey, Shireen Qureshi and Sian O’Gorman. The album was co-produced by Marta Salogni, Sian O’Gorman (NYX) and Elizabeth Bernholz (Gazelle Twin) with mix and additional programming by Marta Salogni, and mastering by Heba Kadry.
Deep England was transferred to the studio soon after, and the resulting album shows a powerful and often dreamlike Jarman-esque depiction of a country divided by its many selves. The performers are Adélaïde Pratoussy, Cecilia Forssberg, Elizabeth Bernholz, Natalie Sharp, Ruth Corey, Shireen Qureshi and Sian O’Gorman. The album was co-produced by Marta Salogni, Sian O’Gorman (NYX) and Elizabeth Bernholz (Gazelle Twin) with mix and additional programming by Marta Salogni, and mastering by Heba Kadry.
TRACK LISTING
01. Glory
02. Folly
03. Fire Leap
04: Better In My Day
05. Throne
06. Deep England
07. Golden Dawn
(08. Jerusalem *bonus Track On Download Coupon)
“What species is this? What century?” Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England’s rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that “there is horror in every idyll, and danger lurking beyond the “quaint” ”.
The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui.
Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz’s J.G. Ballard-inspired A/V show ’Kingdom Come’ (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England.
As its sole creator, Gazelle Twin “The Composer, Musician and Producer” has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz’s signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of ‘90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory.
In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin “The Artist and Performer”, constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century.
The colours of Neo-Nationalism. Coke cans, and DANGER. “It” (not “she”) hints at folkloric traditions with a footy mascot twist. The “Ye Olde” and “The Everyman” of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle’s, and a mad, fixed GRIN - first glimpsed in the single, ‘Hobby Horse’ (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.
The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui.
Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz’s J.G. Ballard-inspired A/V show ’Kingdom Come’ (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England.
As its sole creator, Gazelle Twin “The Composer, Musician and Producer” has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz’s signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of ‘90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory.
In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin “The Artist and Performer”, constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century.
The colours of Neo-Nationalism. Coke cans, and DANGER. “It” (not “she”) hints at folkloric traditions with a footy mascot twist. The “Ye Olde” and “The Everyman” of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle’s, and a mad, fixed GRIN - first glimpsed in the single, ‘Hobby Horse’ (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.
STAFF COMMENTS
Martin says: Bernholz returns for another brilliantly off-piste collection of post-NIN industrial scree, thudding glitches and bit-crushed vocal abstractions, filtered through a rosy, synth-pop filter and smashed into a thousand pieces before being reformed, Burrough-style. Completely baffling but thoroughly brilliant.TRACK LISTING
1/ Folly
2/ Better In My Day
3/ Little Lambs
4/ Old Thorn
5/ Dieu Et Mon Droit
6/ Throne
7/ Mongrel
8/ Glory
9/ Tea Rooms
10/ Jerusalem
11/ Dance Of The Peddlers
12/ Hobby Horse
13/ Sunny Stories
14/ Over The Hills
