:
'
.. .:.... . ' '
______________ : ________ : '
\ / .. .:. .. \ / : :
\ /_________ \ / . .. ... .. . :
.\ / /___ /\ \ / ______________ ___ _.
: \ / / \ / \ \/ / \ \ \ \ \
. ...:..\ / _______/ \/ \ ___/__ / / / / /
: /\ / / \ \/ \ / / / . sH!
' / \/ / / / \ / / . ... .:.... .. .
:/ _______/ / / / _______/__ ___ __
.\ / / / / / / / / / / /
\ / / / / / / / / / / / .
. \ /\______/ / / / / \___ / / :
\/ ____ \ / / / / / :
\ / \ /\____/\ / / : :
________\/ \ / \ / / : '
\ / \/ \ /\ / : . ..:.. .
\ / \/ \ /
\ / \ / . '
: \/ F A N G \ / : '
____ \ / . . .. .. .:.. .
\ / presents \ / .
. \/ \/ :
: .
..:.. ,
: Artist......: Gazelle Twin
: Album.......: Black Dog :
: Label.......: Invada Records .. .:.. .
Genre.......: Electronic :
Catnr.......: INV305CD .
' Source......: CD ,
; Rip.date....: 2023-10-26
Str.date....: 2023-10-27
Quality.....: 244kbps/44.1kHz/Joint Stereo . :..
.:. Url.........: http://www.gazelletwin.com '
' ,
________ ________
\ / \ /
\ / \ /
\ / # title time \ /
\/ \/
1. I Disappear 5:11
2. Sweet Dream 1:45
3. Black Dog 4:35
4. Fear Keeps Us Alive 3:47
5. The Long Room 0:28
6. Two Worlds 3:57
7. Unstoppable Force 4:48
8. This House 4:36
9. Author Of You 4:49
10. Walk Through Walls 3:46
11. A Door Opens 3:07
______
\ / ________ Runtime 40:49
,\ /... . . .... .... \ / ' Size 78.25 ______
:\/ ', \ / , \ /
' '... ..\ /.. .. .....:. .. .... .. . ..\ /.
: Release Notes: \/ , \/ ,
' '
,: As a child, at night, Elizabeth Bernholz (aka Gazelle Twin) saw :,
: the outline of a black dog: "moving by my bedside - not :
:' terrifying but lingering. Looping. Tailing. Restless. Keeping ':
,: me awake". She explained to Emma Garland in her recent Quietus :,
: interview that the eerie shape could be attributed to a general :
:' sinisterness in her parents' Victorian house, or something ':
,: misremembered (her brother confessed he'd seen the same dog-like :,
: silhouette) - but what it was remains uncertain. Bernholz sits :
:' on the fence when it comes to believing in the paranormal. ':
,: :,
: Bernholz explains she is now as a parent experiencing a :
:' "...recurring nightmare of a dark presence waiting for me in a ':
,: house full of unused rooms. Inevitably it gets me. It violently :,
: levitates my body and my child's. An unstoppable force. A :
:' terrible thing". In Freud's native German, his concept of ':
,: uncanny is actually written as æunheimlich', which really :,
: translates to æunhomely', as in ænot of the home'. When we are :
:' faced with an uncanny object or situation, we experience the ':
,: return of something familiar in this unfamiliar state - which :,
: causes us anxiety for some forgotten reason. Heimlich also :
:' translates - interestingly - to æsecret'. ':
,: :,
: Whether or not you're a fan of Freud, Bernholz - like many :
:' artists that came before her - finds the home and its domestic ':
,: objects to sometimes have an uncanny quality (think Meret :,
: Oppenheim's furry teacup known as Object). It can also be a site :
:' of secret oppression too: "Freedom is buried here," she ':
,: cryptically sings on the opening track æI Disappear'. For :,
: Bernholz, domesticity is (both as a child, and now as a mother :
:' herself) frequently disrupted by paranormal forces, and this ':
,: shapes the sounds she chooses. It's very different in intention :,
: to Bj÷rk's Vespertine, which uses a similar palette of found :
:' objects taken from the house. According to producer Marius de ':
,: Vries in Sound on Sound, Vespertine was driven by an "overriding :,
: aesthetic of being homely and comfortable". On Black Dog, the :
:' organic sounds - like the dull heartbeat thud on æBlack Dog' ':
,: and the wooden seesawing of æUnstoppable Force' - create :,
: anxiety, rather comfort. :
:' ':
,: Black Dog makes me think of Robbin Schiff's Womanhouse :,
: installation æNightmare Bathroom'. A woman sits in a bathtub :
:' while the loose outline of a snake rises to meet the edge of ':
,: her face. The scene seems lit from odd angles, and the woman's :,
: ephemeral form is made out of loose pink sand. Schiff stated :
:' that: "Even though the bathroom can be a refuge and a private ':
,: place, I have always been afraid there. It is not a rational :,
: fear. It may stem from the fear I had in childhood of being :
:' sucked down the drain with the water..." ':
,: :,
: But all this comes with a bit of a disclaimer. Psychoanalytic :
:' readings of art might actually say a little bit about the work, ':
,: and also what you bring to the story through your own :,
: introspection. By taking this approach, you have to accept that :
:' it doesn't offer much in the way of resolution. Bernholz plays ':
,: with this tension really well; the grey area of whether her :,
: ghosts are fictitious or not, in a way that feels incredibly :
:' convincing - it is real to her. It is a discombobulating means ':
,: to articulate to herself, and to us through sound, what she :,
: can't explain in concrete terms. Reducing the soundworld of :
:' Black Dog to simply a symptom of Bernholz's childhood fear ':
,: would also be - let's face it - extremely boring. :,
: :
:' Bernholz doesn't focus too hard on the incident of seeing her ':
,: black dog per se. On the title track, she urgently repeats the :,
: lines, "I tell you this dream, this dream I had," as if :
:' rummaging through old memories to unsuccessfully locate the ':
,: exact experience. The measured clangs that walk you through the :,
: piece seem to be Bernholz herself, pacing in slow motion. :
:' There's no big reveal - despite its momentary build up around ':
,: the three minute mark - the track structurally has us walking in :,
: circles. :
:' ':
,: Phantoms serve as a black hole in the centre of the work, around :,
: which the album's dread surrounds. It's like she's retracing and :
:' recording the atmosphere of her childhood house, the way that ':
,: the dimensions of a space can create horror. Hitchcock did this :,
: by using camera perspectives that no human being would look out :
:' from, Bernholz does this, for example, on æThe Long Room' by ':
,: using samples that sound like people talking, but from a :,
: distance or through walls - barely perceptible. :
:' ':
,: I love the way that on æI Disappear', the synth drones vanish :,
: until we are left with Bernholz's hovering voice accompanied :
:' with white noise. Which seems to me to create the sense of when ':
,: you are lying awake at night, but the silence isn't silent, :,
: because your ears are still gently ringing. At the end of the :
:' track we are left with this white noise - or perhaps tinnitus - ':
,: like the sound of a hospital monitor flatlining but pitched :,
: down, for around a whole minute. :
:' ':
,: You are drawn to anticipate Bernholz's voice, which you spend :,
: much of your listening experience waiting to emerge and break :
:' through the drones. But it's the gaps between these moments ':
,: which make it breathtaking. Bernholz projects her voice in a way :,
: that makes it sound like it's not attached to a physical body - :
:' much like Diamanda Galas'. Her sonically altered, sometimes ':
,: low, sometimes high voice sits on top of each track like a :,
: disembodied narrator. It disarmingly cuts through her languorous :
:' synth drones, with you latching onto her every word in case it ':
,: provides some sense of clarity to the strange harmonic :,
: resonances. She dangles tantalisingly few clues however. While :
:' Bernholz has used her voice to similar effect throughout her ':
,: work as Gazelle Twin, it's at its most commanding here. (Lottie :,
: Brazier/Quietus) :
:' ':
: '
'.. ..'
.. . :........... . . . . ............: . .
______________ ______________
\ / \ /
\ / GREETS: \ /
\ / \ /
\ / iPC BOSS HiT2000 1way UKi i8 RNS \ /
\ / MANDY DV8 pLAN9 BUTT \ /
\ / \ /
\/ ____ ____ \/
\ / F A N G \ /
\/ \/