Hiding one’s identity has at least two positive and rather intriguing effects. Not only does it disguise particular characteristics that don’t fit the concept, but also raises curiosity. Although this approach to the hiding of identity isn’t scattered in today’s independent pop-art, costumed and often-grotesque figure still stands out. Additionally, masks direct the attention to the music itself; no longer is the musician’s face important - on the contrary, the art and its delivery is the bottom line of the artist’s existence.
Gazelle Twin uses these mimicry to turn her shy persona into a dark electronic dominatrix, who conjures and subdues. Elizabeth Walling, the creative mastermind of this one-woman project, adores the art of Fever Ray and surrealist painter Max Ernst. These two muses are apparent in the successful joining the idiosyncratic darkness of her sound with welcome accessibility. Certainly, Walling doesn’t create art for its own sake: the gloomy paranoia serves the higher concept as well as the particular emotions Walling evolves. Her masks are just the tools, not the short-sighted attempt to strike.
After Changelings and I Am Shell, I Am Bone, Walling comes with the third single out of her upcoming debut album The Entire City. Men Like Gods is a synthetic wail for absolution with hopelessness rooted deep inside. Walling’s vocals are vocoder-manipulated; therefore she sounds less human, but more like a choir of evil ghosts. Men Like Gods is not just a pain of a soul captured in limbo; Walling raises her voice to highs with amazing effect to express the human play on gods. As if her haunting vocals weren’t enough, tribal drums, dubby basses and industrial synthesizers underline the eeriness of Men Like Gods. Despite the awesome darkness of Walling’s music, her musical future is surely bright. Amazing.