One of a possible artistic mottoes of Elizabeth Walling, better known as Gazelle Twin may be that the more theatrical you are, the greater art you create. Dramatic gestures, masked persons on the stage, huge layered cinematic motives. Everything set in the direction of supernatural and unusual, as if this world was not enough. Inspired by faux-mysterious shows of Swedish electro-pop artist Fever Ray and influenced by visual art of Max Ernst Walling prepared a release party which fulfilled all the expectations on her dark and purposedly-cryptic artistic alter-ego.
It would be unfair to analyze just her persona – veiled, masked and hidden under layers of a dark bizzare draperies with most of her face covered by a sepulcher veil with just her sharp mouth and lines of two falling black tears visible. Just like the live debut of iamamiwhoami in Goteborg, Gazelle Twin kicked off the show back to the audience which was already drowning in the huge, anthemic introduction of The Entire City (read my review of this album). Since her debut album is rich on strong, standalone songs she had an opportunity to perform majority of this material while not falling into boring transposition of the album versions into the live ones.
One of the most seductive moments came just in the first half of the show with the arrival of a ballad Changelings (streamed above). Gazelle Twin performed this without vocoder-manipulated vocals and let her strong, distinct voice naked in front of those two microphones. Placed in between her industrial, beat-heavy tracks Changelings brought an emotional and sonic relief from the basses and big choruses. Gazelle rather soothed our ears like a siren encouraging us to believe her, come closer and die under her spell. And it happened; she went on with her synthesized drama full of operatic vibratos, two sets of drums and often overwhelming drones.
The only disappointment or more specifically unfulfilled aspect of this gig was the fact that all the tense built during the show and gradually growing thrill didn’t peak. When the audience expected something as huge and breathtaking as the beginning of the concert or industrial anthem Men Like Gods, Walling killed the seduction with a beautiful, but quiet and dizzy version of Joy Division's The Eternal. Her chamber and ascetic version of this dark intimate call for sanity played in high contrast to the show which was more dystopian, futuristic and outward. All in all, Gazelle Twin's release show at Islington Metal Works in London was a promising act of high-concept artist who may have many more aces up her sleeve.
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- inoutelsewhere said: May I suggesto to add to your template the streampad (www.stre…) widget… A quote “author-title-album-year” at the end of each post or as a title would be also perfect… Musical choice & taste are at the top I’ve ever listened, anyhow…
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