PRLog - Jan. 16, 2013 - PHILADELPHIA -- Sugarcane Recordings, hot off of releasing last year's Sin Cos Tan debut album, is setting itself up for an amazing year with new releases from John Foxx and Jori Hulkkonen, David Lynch, new album from the Icelandic band Bloodgroup, and in two weeks the much anticipated "Mammal" EP from Gazelle Twin.
Mammal Ep Cover 1 Sheet.
Gazelle Twin is the moniker of UK-based artist and musician, Elizabeth Walling - the sole creative force and "puppeteer" behind this cryptic, shape-shifting identity. Her self-released debut album, 'The Entire City' (Anti-Ghost Moon Ray, 2011) with its choral-infused, cinematic electronica, won international critical acclaim and a host of high-profile admirers and associations.
Her music has been reaching legendary ears far and wide; from Ridley Scott - who ok'd the inclusion of one of the album tracks on a viral for Prometheus - to Gary Numan - who commissioned the remix of 'We Are The Lost'. The most recent name in a growing celebrity fan base is Clint Mansell. He contributes a rare remix to Mammal - a testament to his support for Walling's work - claiming his involvement helped him "find inspiration"
Mammal is the first new material by Gazelle Twin to be released since 'The Entire City'. It treads similarly dark and dreamy soundscapes, but finds itself exploring more aggressive terrains. As rich in thematic sources as its sonic palette - inspired by the 1982 Morricone score for John Carpenter's 'The Thing', and the intense horror-rap of Death Grips - the EP explores "the alienation of human physical form".
Unsettled and visceral, the lead track, 'I Turn My Arm', examines the phenomenon of the "phantom limb"; while the haunting and spatial 'This Is My Hand' recounts "the fear and awe I felt when I first realized I was a physical object", according to Walling. The track's title and lyrics are linked beautifully to a quote from Ingmar Bergman's Seventh Seal, "This is my hand. I can move it. Blood gushes within it...".
The discerning listener will notice the heartbeat running through all three tracks. So, the final track sits surprisingly comfortably despite its unlikely origins - a cover of Wire's 'Heartbeat' (1978), personally approved by Colin Newman himself before its inclusion.
Graced with an extraordinary set of remixes, the first comes from Clint Mansell - known internationally for his many cinematic soundtrack compositions, he has been Darren Aronofsky's go-to for his films (Requiem For A Dream, Black Swan, and PI). Mansell delivers a suitably 'Carpenterian' version of 'This Is My Hand', transforming Walling's vocal into a new melody. In sorts, a synthetic clone of itself accompanied by intensifying electronic drones that adds an extra eeriness to the song's lyrics.
British dubstep artist, Kuedo (Planet Mu) aka Jamie Teasdale - better known as one half of Vex'd - explores striking new harmonies in 'I Turn My Arm'. He gives the song a softer edge with his signature Oneohtrix-style, dreamy synth textures.
Renaissance Man (Turbo, Modular) approach can be felt instantaneously. A blistering but sparse industrial trip that focuses on stripping the vocal away from its harmonic bed, pushing the track into a darker and more disturbing realm.
Alixander III (Azari & III) treats 'I Turn My Arm' with an archetypal, dark, house influence. A faster tempo and isolation of the breathy, androgynous vocals, causes them to whisper and gasp into the listener's ear.
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