LIVE: Gazelle Twin & NYX present ‘Deep England’ – Queen Elizabeth Hall, Southbank Centre 20.11.19

An engrossing, ghastly, but intensely beautiful carousel of sound, Gazelle Twin‘s Deep England collaboration with the NYX Drone Choir is unlike anything you have seen or heard before. Inspired by the tracks that formed Gazelle Twin aka Elizabeth Bernholz’s 2018 album Pastoral, the joint performance at Southbank Centre’s Queen Elizabeth Hall continued the artist’s harrowing up of England’s “rotten past” and exploration of its uncertain future.

Through the power of combined operatic voices, St. George-meets-The-Handmaid’s-Tale costumes and creative staging, Bernholz and her team have created a claustrophobic, charged gallop of aural anarchy with this latest endeavour. Informed by British paganism and ritualistic activity, Deep England feels almost supernatural at points, especially during ‘Fire Leap’, which is lifted from the cult 1973 film The Wicker Man. Multiple recorders and kazoos are played – instruments of nostalgic folly turned into present, frightening farce – as the choir slowly moved around the stage, chanting the lyrical motif “Take the flame inside you / Burn and burn below”, like a warped spell.

‘Better In My Day’ abruptly broke this spell, with its nervous, skittish percussion. It stands out in terms of volume and energy, with Bernholz and her chorus performing frenzied, stunted movements whilst snarling their way through the lyrics. A spotlight on a tree at the back of the stage (which has been present throughout the performance) commands Bernholz to sit under it, as the intro synth sequence to ‘Sunny Stories’ begins to play.

Bernholz delivered her dark fable under the fake foliage, gently lulling the choir into following track ‘Golden Dawn’. ‘Throne’ brought Bernholz back to centre stage and down to her knees, singing of “insolvency” and racking up debts. Eponymous track ‘Deep England’ closed the performance in the same un-nerving way it began; dimly lit, with the choir and Bernholz’s voices seething in unison.

Whilst Bernholz’s unique vision was brought vividly to life on her original record Pastoral, with the aid of the NYX drone choir her vitriol is able to take its fullest, most nerve-shredding form. Deep England is a phenomenal artistic accomplishment and a jarring reminder that our dark past is never too far behind us.

Deep England Credits:
Gazelle Twin: Elizabeth Bernholz
NYX vocalists: Adelaide Pratoussy, Cecilia Forssberg, Natalie Sharp, Ruth Corey, Shireen Querishi, Sian O’Gorman
Compositions and Music Direction: Elizabeth Bernholz and Sian O’Gorman
Movement Director: Imogen Knight
Sound Associate: Peter Rice
Production and Costume Design: Chloe Lamford
Stylist: Anna Josephs

Deep England was performed as part of the EFG London Jazz Festival 2019.

Photo Credit: Jamie Cameron

Kate Crudgington
@KCBobCut

LIVE: Björk’s Cornucopia Tour – The O2 Arena, London 19.11.19

An opulent, self aware, stunning two hour performance: Icelandic icon Björk was able to “weave a matriarchal dome” over the heads of her transfixed crowd during her Cornucopia live show at London’s O2 Arena. The music pioneer brought her Utopian vision to life through pitch perfect vocals, beautifully orchestrated collaborative sounds, and breath-taking visuals.

Before the show began, a polite audio recording requested that fans refrain from filming or photographing the show, as this would be distracting to Björk. Surprisingly, the majority of fans respected her wishes, and immersed themselves in listening to the aural grandeur of the Icelandic choir who opened the Cornucopia show against a curtain backdrop laced with tropical flowers.

When Björk’s altruistic vocals broke through the airwaves and the stage curtain parted; it felt like straying into a Midsummer Night’s Dream. Dressed in a unique ensemble and accompanied by performers who were both decorated like, and sounded like birds of paradise; Björk delivered a passionate rendition of ‘The Gate’. A flute ensemble led her in to ‘Utopia’, followed by the divine sounds of ‘Arisen My Senses’ with live harp accompaniment and more stunning visuals.

With a clear focus on her two most recent studio albums – 2017’s Utopia, and 2019’s Virtual Reality record Vulnicura – Björk’s set list, shape-shifting animations and optics truly transcended the fourth wall between fans and performer. The set’s sensuality was heightened by so many elements – the incredible stage design, the affluent costumes – as well as Björk’s willingness to experiment with new forms of sound during live shows. At one point in the set, she sings next to a percussionist who is pouring water over pebbles, with the crowd so entranced that it almost feels like every water drop is audible.

With only a handful of older songs making the cut for this performance (most notably ‘Venus As A Boy’ and a partial rendition of ‘Pagan Poetry’), whether this was your first time seeing Björk, or your fiftieth time; Cornucopia is an audio & visual force unlike any other. Björk’s artistic vision is uncompromising in so many ways, which is made especially clear towards the latter part of the show.

Her elaborate spectacle is underscored by a sincere desire to highlight the current climate crisis we are all witnessing. A series of words were projected on to the veil-like stage curtain, urging all to imagine a brighter future under that “matriarchal dome”, with the final statement – “Imagine a future. Be in it” – prompting applause from the crowd. There was a video message from climate crisis activist Greta Thunberg during the finale too, further encouraging fans to practice what Thunberg passionately, and necessarily preaches.

A performance that – despite this review – transcends the barriers of language; Björk’s Cornucopia show deserves to be seen in all its live glory. Its potent message about protecting the earth, and each other, still rings true long after the spotlight fades out. Björk’s vision serves as a reminder to all that altruism and ingenuity mean nothing if there’s not a planet for us all to share, and experience them on.

Kate Crudgington
@KCBobCut

Get In Her Ears w/ Piney Gir 21.11.19

Kate was back in the studio this week with guest co-host Beth White. They played a plethora of new music; featuring highlights from ARXX, Bitch Falcon, PONY, Polly Money, The Menstrual Cramps, The Baby Seals, Nomke & Fightmilk.

Piney Gir joined them in the studio to perform acoustic versions of her tracks ‘Dream Catcher’ & ‘Great Pretend’ and for a chat about her recent album, You Are Here. We can’t wait to have her headline our FREE GIHE gig at The Finsbury Pub on Fri 14th Feb 2020 (event details here).

Listen back:

Tracklist
TLC – No Scrubs
Grimes – So Heavy I Fell Through The Earth
Bitch Falcon – Damp Breath
ARXX – You Got What You Want
REWS – Birdsong
Jemma Freeman – Hard Times
PONY – Limerence
Honeymoan – Still Here
Fightmilk – Four Star Hotel
Glacier Veins – Not Gonna Stay
Eilis Frawley – Illusions
Phlake – Baby Steps
Dutch Mustard – Get What You Want
Scrounge – Purpose
Pongo – Quem manda No Mic
Ren Harvieu – Teenage Mascara
Polly Money – Twntys
The Menstrual Cramps – Idols
Deux Furieuses – Let Them Burn
Nomke – Ended (by the morning)
Claire Foxx & The Antisocial Justice Warriors – Problem Child
Breakup Haircut – I Don’t Wanna Do Things
The Baby Seals – My Labia’s Lop-sided But I Don’t Mind
Berries – Written In Paint
Nao – In The Morning
Amy Fitz Doyley – Ears
Avril Lavigne – I’m With You

ALBUM: Sea Change – ‘Inside’

Peel away your inhibitions and join Norwegian electronic artist Ellen Sunde aka Sea Change as she navigates a personal metamorphosis on her new album, Inside. Alongside co-producer and mixer Andrew Murray, Sunde has crafted seven ethereal sounding, club-inspired tracks that make her sound like she could be the introverted distant relation of Fever Ray.

Eponymous track ‘Inside’ may be brief, but in the space of two minutes Sunde outlines the direction of her album. Sparse synth sounds and hyper-conscious, introverted lyrics – “Come with me inside / my skin feels too tight” – alert listeners to the beginning of her journey towards breaking out of her shell. This idea is taken to a different level on following track ‘Stepping Out’. Through a fusion of disjointed beats and atmospheric synth textures, Sunde navigates the idea of transforming into an animal.

“Let me possess you / Let me destroy you” she delicately threatens on ‘Something Else’, a captivating four minutes of altruistic synth patterns and soft, reverb-strewn vocals. A quiet anger permeates following track ‘Scratch That Itch’, with the opening percussive clicks acting as a subtle nod to the itch in the song’s title. Sunde softly sings “I have a white hot anger / I’m slowly setting it free” over mellow synth textures and looping beats that sit in contrast to the emotion she’s expressing. This contradiction in sound and lyricism is what makes Sunde’s music so compelling.

The intimate ‘What Makes’ is truly intoxicating. “I wear my body inside out for you” she muses, over drifting beats and ambient synths. ‘The Bed’ is an emotive lament about the “skin and dirt” that sullies the sheets and the memories of stale love. Closing track ‘Flown’ is a breath of fresh air, a four minute rumination on freedom and letting go.

“When I made this record I tried to channel the same state of mind I have when I go clubbing” Sunde explains. “Not overthinking everything, like I usually do, but instead embracing my impulses; working intuitively, almost anti-intellectual.” This approach has resulted in an impressive collection of instinctive, immensely enjoyable sounds that could fill busy dancefloors, or soundtrack private moments of introspection in dimly lit bedrooms.

Photo credit: Fotini Chora

Kate Crudgington
@KCBobCut