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2CD
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AGMR 051CD
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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, together with The Wastelands (AGMR 052LP), 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 track listing, The Wastelands expands on this shadowy, future-scape, featuring foreboding, percussive songwriting, with euphoric choral swells. The release features the captivating photo collage artwork of British artist, Suzanne Moxhay.
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LP
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AGMR 051LP
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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 silver grey vinyl featuring the captivating photo collage artwork of British artist, Suzanne Moxhay, with newly designed artwork by Paul Agar and Gazelle Twin.
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LP
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AGMR 052LP
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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, future scape, featuring foreboding, percussive songwriting, with euphoric choral swells. The Wastelands also features the captivating photo collage artwork of British artist, Suzanne Moxhay. Translucent yellow vinyl.
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LP
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AGMR 036LP
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Color vinyl version. The new album 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 presents the notion that "there is horror in every idyll, and danger lurking beyond the 'quaint'." Four years in the making, this is her first major release since her widely acclaimed LP Unflesh (2014) and Kingdom Come (2017). 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 Elizabeth 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. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin constructs an eccentric and commanding visual embodiment of all-of-the-above -- a costume fit for a court Jester of the 21st Century. The colors 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.
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CD
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AGMR 035CD
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The new album 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 presents the notion that "there is horror in every idyll, and danger lurking beyond the 'quaint'." Four years in the making, this is her first major release since her widely acclaimed LP Unflesh (2014) and Kingdom Come (2017). 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 Elizabeth 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. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 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.
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LP
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RDM 113LP
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Gazelle Twin were originally invited as part of the Supersonic Festival 2015 curation of the Moog Sound Lab satellite sessions at Birmingham City University. The Twin returned to the lab during its residency later that year at London's Ace Hotel for a consecutive six-day session in August, invited artists Moog'd, wined, dined, slept, and dreamt in room 236. On tap 24/7 -- the entire Moog Sound Lab, along with a Brion Gysin's "Dream Machine" and a small library of associated books and user manuals. Here Gazelle Twin re-made/re-modeled, recorded, and filmed new versions of two of their favorite tracks.
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12"
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SGR 018EP
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Gazelle Twin is the moniker of UK-based artist and musician, Elizabeth Walling -- the sole creative force and "puppeteer" behind this cryptic, shape-shifting identity. Her self-released debut album, The Entire City (Anti-Ghost Moon Ray, 2011) with its choral-infused, cinematic electronica, won international critical acclaim and a host of high-profile admirers and associations to follow. Featuring remixes from Clint Mansell, Renaissance Man, Kuedo, and Alixander III.
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