GAZELLE TWIN / UK
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. Out on September 2018, Pastoral is 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. 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, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014). 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.
[ SATURDAY 14 | 22:15 | CAPITOL ]