SATURDAY 16 JULY
BRIGHTON TOWN HALL (ATRIUM)*
DOORS AT 5.45PM
*LIMITED CAPACITY AT THIS VENUE. PLEASE BOOK ONLINE IN ADVANCE TO AVOID DISAPPOINTMENT.
'COLOSSUS’ (devised exclusively for Soundwaves Festival 2011)
Brighton’s very own Gazelle Twin performs a new improvisatory piece exploring the dialogue between human and machine. Voice, electronics and a specially created artificial intelligence Max MSP module made by artist and musician Ed Briggs, are coupled with darkly theatric sensibilities to create an atmospheric, electrifying and wholly unique experience.
GAZELLE TWIN BIOGRAPHY
Fittingly, biographical details about Gazelle Twin – a shadowy entity who creates unsettlingly beautiful, hypnotically haunting musical Art with a capital 'A' - are scant. The Gazelle Twin is – or, perhaps more accurately, is not – Elizabeth Walling. As a child she was “a bit sensitive, anxious, maybe a bit too reflective”. And for now, that is already quite enough.
To date, the Gazelle Twin discography consists of only two items: the single “Changelings”, released last year and backed with an imaginatively lateral-thinking cover of “I Wonder U” by Prince, the Minneapolitan genius being an acknowledged obsession of Walling's (especially his strange backwards beats circa Purple Rain and Parade). The second is another single, “I Am Shell I Am Bone”, due in April on Anti-Ghost Moon Ray Records, a new indie label (and blog) set up with fellow Brighton musicians.
Already, these recordings have earned acclaim everywhere from Time Out to The Guardian to Metro to Diva magazine, and drawn comparisons to Bjork, Elizabeth Fraser, Siouxsie, Lamb, Portishead, Goldfrapp, Kate Bush and Fever Ray. The last two are particularly pertinent: it was Bush who provided Walling with the blueprint for presenting 'classical' music in a pop context, and Karin Dreijer Andersson who, both in Fever Ray and The Knife, inspired her visual boldness.
Gazelle Twin's atmospheric, avant-garde sounds are often deeply cinematic – one can imagine them scoring Lynch's Eraserhead or Lang's Metropolis – and this is no coincidence. Between the crucially formative ages of 17 and 25 she never listened to pop, and became engrossed instead in studying choral and film music: “the gnarly, plinky-plonky stuff, unsettling but also euphoric”. Brad Fiedel, the composer responsible for the mood music while Arnie Schwarzenegger kicked cyberpunk ass in the Terminator movies, is a particular favourite (and Walling indeed nearly pursued a career in film music).
A somewhat more archaic and arcane influence is Carlo Gesualdo, a 16th/17th century Italian composer whose bizarre, guilt-wracked madrigals she encountered while working on a commission for Brighton Early Music Festival.
The one certain thing about Gazelle Twin is that nothing is certain. The aesthetic is an ever-developing thing: “I want it to change all the time. I intend the thing to constantly morph into different areas...”
FOR MORE INFORMATION VISIT GAZELLE TWIN'S WEBSITE