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Gazelle Twin — York Mediale

Festival

Gazelle Twin

Composer, musician and producer Elizabeth Bernholz, conceived Gazelle Twin in 2009 as the moniker under which she has since released the critically acclaimed albums; Pastoral (2018), Kingdom Come (2017), Unflesh (2014) and her debut, The Entire City (2011) on her own label, Anti-Ghost Moon Ray. 

Her music presents dystopian themes through experimental electronic production and extraordinary live performances which feature changing personas. Unflesh, unveiled an onstage costume based on Bernholz’s teenage PE kit, reflecting the album’s deeply personal themes of teenage anxiety and body dysmorphia. Kingdom Come, an audio-visual performance piece commissioned by Future Everything Festival (Manchester) in 2016, depicted an imagined English fascist hell-scape inspired by JG Ballard’s final novel. Gazelle Twin’s third studio album, Pastoral, conjured English folkloric traditions with a footy mascot twist, made in response to a move to post-Brexit rural England.

In 2019 Gazelle Twin collaborated with Max de Wardener to create a new performance with the BBC Orchestra at the Southbank Centre, Queen Elizabeth Hall, as part of New Music Biennial ‘19. The Power And The Glory included a re-worked version of ‘Glory’ from the Pastoral album. Later that year Gazelle Twin returned to the same London venue to present Deep England, an ensemble performance made in collaboration with the electronic drone choir, NYX. A studio album is set to be released in Spring 2021. 

In 2020, Bernholz’s experimentation in electronic music production was recognised by the University of Sussex (of which she is an alumna) and subsequently the Gazelle Twin scholarship for Women in Music Technology was setup to address the under-representation of women in music technology. 

In addition to her ongoing projects, Bernholz often collaborates with creators in Theatre, TV and Film. 2020 and beyond will bring the release of two feature film scores, the first for a new production by Blumhouse and Amazon, the second, commissioned by the BFI, and made in collaboration with Max de Wardener. 

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