Black Dog
Gazelle Twin's first solo album in five years, 'Black Dog' is a murky spiral of gothic vocals and wonked, b-movie electronics that flies its freak flag high. RIYL Fever Ray or Diamanda Galás.
Following the release of 2018's critically beloved 'Pastoral', Elizabeth Bernholz began to reconsider her use of masked characters to shroud her output. 'Black Dog' instead lays her persona bare, taking its title from a recurring nightmare where she'd see a shadow by her bedside as she tried to sleep. This anxiety looms around the album like thick fog, and Bernholz captures her nighttime reality by using an arsenal of analog synths (like the EMS VCS3, Moog Theramini, Moog Voyager and the System 55) to growl, groan and hum while she sings into the void.
Musically, it reminds us of Richard Band's influential run of early '80s horror soundtracks ( 'Re-Animator', 'Puppet Master'), which seems like apt source material given the album's theme. But Bernholz isn't strangled by nostalgia; she uses these elements as careful signifiers, disturbing them with rickety, subterranean rhythms and bleak, dark ambient textures. And just like its predecessors, it's her voice that gives 'Black Dog' its flickering, flourescent strip personality. She alternately sneers and wails, sounding operatic and painfully casual at the drop of a hat, avoiding simple comparison. At this stage in her career she sounds isolated and idiosyncratic, and 'Black Dog' is her most daring statement yet.
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Gazelle Twin's first solo album in five years, 'Black Dog' is a murky spiral of gothic vocals and wonked, b-movie electronics that flies its freak flag high. RIYL Fever Ray or Diamanda Galás.
Following the release of 2018's critically beloved 'Pastoral', Elizabeth Bernholz began to reconsider her use of masked characters to shroud her output. 'Black Dog' instead lays her persona bare, taking its title from a recurring nightmare where she'd see a shadow by her bedside as she tried to sleep. This anxiety looms around the album like thick fog, and Bernholz captures her nighttime reality by using an arsenal of analog synths (like the EMS VCS3, Moog Theramini, Moog Voyager and the System 55) to growl, groan and hum while she sings into the void.
Musically, it reminds us of Richard Band's influential run of early '80s horror soundtracks ( 'Re-Animator', 'Puppet Master'), which seems like apt source material given the album's theme. But Bernholz isn't strangled by nostalgia; she uses these elements as careful signifiers, disturbing them with rickety, subterranean rhythms and bleak, dark ambient textures. And just like its predecessors, it's her voice that gives 'Black Dog' its flickering, flourescent strip personality. She alternately sneers and wails, sounding operatic and painfully casual at the drop of a hat, avoiding simple comparison. At this stage in her career she sounds isolated and idiosyncratic, and 'Black Dog' is her most daring statement yet.
Gazelle Twin's first solo album in five years, 'Black Dog' is a murky spiral of gothic vocals and wonked, b-movie electronics that flies its freak flag high. RIYL Fever Ray or Diamanda Galás.
Following the release of 2018's critically beloved 'Pastoral', Elizabeth Bernholz began to reconsider her use of masked characters to shroud her output. 'Black Dog' instead lays her persona bare, taking its title from a recurring nightmare where she'd see a shadow by her bedside as she tried to sleep. This anxiety looms around the album like thick fog, and Bernholz captures her nighttime reality by using an arsenal of analog synths (like the EMS VCS3, Moog Theramini, Moog Voyager and the System 55) to growl, groan and hum while she sings into the void.
Musically, it reminds us of Richard Band's influential run of early '80s horror soundtracks ( 'Re-Animator', 'Puppet Master'), which seems like apt source material given the album's theme. But Bernholz isn't strangled by nostalgia; she uses these elements as careful signifiers, disturbing them with rickety, subterranean rhythms and bleak, dark ambient textures. And just like its predecessors, it's her voice that gives 'Black Dog' its flickering, flourescent strip personality. She alternately sneers and wails, sounding operatic and painfully casual at the drop of a hat, avoiding simple comparison. At this stage in her career she sounds isolated and idiosyncratic, and 'Black Dog' is her most daring statement yet.
Gazelle Twin's first solo album in five years, 'Black Dog' is a murky spiral of gothic vocals and wonked, b-movie electronics that flies its freak flag high. RIYL Fever Ray or Diamanda Galás.
Following the release of 2018's critically beloved 'Pastoral', Elizabeth Bernholz began to reconsider her use of masked characters to shroud her output. 'Black Dog' instead lays her persona bare, taking its title from a recurring nightmare where she'd see a shadow by her bedside as she tried to sleep. This anxiety looms around the album like thick fog, and Bernholz captures her nighttime reality by using an arsenal of analog synths (like the EMS VCS3, Moog Theramini, Moog Voyager and the System 55) to growl, groan and hum while she sings into the void.
Musically, it reminds us of Richard Band's influential run of early '80s horror soundtracks ( 'Re-Animator', 'Puppet Master'), which seems like apt source material given the album's theme. But Bernholz isn't strangled by nostalgia; she uses these elements as careful signifiers, disturbing them with rickety, subterranean rhythms and bleak, dark ambient textures. And just like its predecessors, it's her voice that gives 'Black Dog' its flickering, flourescent strip personality. She alternately sneers and wails, sounding operatic and painfully casual at the drop of a hat, avoiding simple comparison. At this stage in her career she sounds isolated and idiosyncratic, and 'Black Dog' is her most daring statement yet.
Frosted clear vinyl housed in a deluxe gatefold sleeve with double sided insert.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Gazelle Twin's first solo album in five years, 'Black Dog' is a murky spiral of gothic vocals and wonked, b-movie electronics that flies its freak flag high. RIYL Fever Ray or Diamanda Galás.
Following the release of 2018's critically beloved 'Pastoral', Elizabeth Bernholz began to reconsider her use of masked characters to shroud her output. 'Black Dog' instead lays her persona bare, taking its title from a recurring nightmare where she'd see a shadow by her bedside as she tried to sleep. This anxiety looms around the album like thick fog, and Bernholz captures her nighttime reality by using an arsenal of analog synths (like the EMS VCS3, Moog Theramini, Moog Voyager and the System 55) to growl, groan and hum while she sings into the void.
Musically, it reminds us of Richard Band's influential run of early '80s horror soundtracks ( 'Re-Animator', 'Puppet Master'), which seems like apt source material given the album's theme. But Bernholz isn't strangled by nostalgia; she uses these elements as careful signifiers, disturbing them with rickety, subterranean rhythms and bleak, dark ambient textures. And just like its predecessors, it's her voice that gives 'Black Dog' its flickering, flourescent strip personality. She alternately sneers and wails, sounding operatic and painfully casual at the drop of a hat, avoiding simple comparison. At this stage in her career she sounds isolated and idiosyncratic, and 'Black Dog' is her most daring statement yet.
CD housed in a spined wallet with 16 page booklet.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Gazelle Twin's first solo album in five years, 'Black Dog' is a murky spiral of gothic vocals and wonked, b-movie electronics that flies its freak flag high. RIYL Fever Ray or Diamanda Galás.
Following the release of 2018's critically beloved 'Pastoral', Elizabeth Bernholz began to reconsider her use of masked characters to shroud her output. 'Black Dog' instead lays her persona bare, taking its title from a recurring nightmare where she'd see a shadow by her bedside as she tried to sleep. This anxiety looms around the album like thick fog, and Bernholz captures her nighttime reality by using an arsenal of analog synths (like the EMS VCS3, Moog Theramini, Moog Voyager and the System 55) to growl, groan and hum while she sings into the void.
Musically, it reminds us of Richard Band's influential run of early '80s horror soundtracks ( 'Re-Animator', 'Puppet Master'), which seems like apt source material given the album's theme. But Bernholz isn't strangled by nostalgia; she uses these elements as careful signifiers, disturbing them with rickety, subterranean rhythms and bleak, dark ambient textures. And just like its predecessors, it's her voice that gives 'Black Dog' its flickering, flourescent strip personality. She alternately sneers and wails, sounding operatic and painfully casual at the drop of a hat, avoiding simple comparison. At this stage in her career she sounds isolated and idiosyncratic, and 'Black Dog' is her most daring statement yet.