EP: Julia-Sophie – ‘Y?’

Describing herself as finally finding her hullabaloo within the storm, new electronic artist Julia-Sophie jumped onto the scene supporting GIHE faves Sink Ya Teeth. Last week she released her debut EP, Y?, and we cannot stop listening to it.

This record draws you in from the outset. Lead track ‘Breathe’ envelopes you with its sound as the pulsating title lyric repeats, leaving it reverberating around your head after only the second listen. At points, especially on ‘x0x’, I feel that I can hear the influences of Gazelle Twin, where I am sat watching this music performed in a darkened auditorium with a light show that electrifies the stage as the music electrifies your ears.

Of the record Julia-Sophie explains “I came to point in my life when I realised that I had been coasting through life and in these songs, rather than carrying on floating I chose to rip myself open and see what would come out the other side.”

Y? is a sublime four track record of emotionally intelligent electrifying electronica. Music which builds and layers, over and over, resulting in an almost painfully blissful experience. I’m completely addicted and have not enjoyed an EP this much in a long while – Julia-Sophie is clearly an artist who has a solid understanding of producing, removing boundaries and letting music speak for itself. I cannot, and do not want to stop listening. 

Listen to Julia-Sophie’s EP Y? here. Follow Julia-Sophie on Instagram for more updates.

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

A deeply engrossing, ghastly, yet intensely beautiful carousel of sound: Gazelle Twin‘s (Elizabeth Bernholz) ‘Deep England’ collaboration with the NYX Drone Choir is unlike anything you’ve ever seen, or heard before. Inspired by the tracks that form Bernholz’s 2018 album, Pastoral, this performance continues her 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 anarchy with this latest endeavour. “What species is this?” questions Bernholz & the NYX choir through their overlapping vocals on ‘Folly’, an apt observation from a group of women who have powerful, beguiling voices. They are all used to full effect during a riveting, acapella rendition of following track ‘Glory’.

Informed by British paganism and ritualistic activity, ‘Deep England’ feels almost supernatural at points, and this is especially noticeable during ‘Fire Leap, lifted from the cult 1973 film The Wicker Man. Multiple recorders and kazoos are played – instruments of nostalgic folly turned in to present, frightening farce – as the women slowly move 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 breaks this spell, with its nervous, persistent percussion. It stands out in terms of volume and energy, with Bernholz and her chorus performing frenzied, yet stunted movements whilst they spit and snarl 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. The intro synth sequence to ‘Sunny Stories’ begins to play, and she delivers her dark fable under the fake foliage, gently lulling her choir in to following track ‘Golden Dawn’.

‘Throne’ brings Bernholz back to centre stage and down to her knees, as she sings of “insolvency” and eating your debts. Eponymous track ‘Deep England’ closes the performance in the same un-nerving way it began; dimly lit, with the women’s voices seething in unison. Whilst Bernholz’s unique vision was brought vividly to life on her original record Pastoral, it’s with the aid of the NYX drone choir during ‘Deep England’ that her vitriol takes its fullest form. ‘Deep England’ is a phenomenal accomplishment, and a jarring reminder that our 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

Gazelle Twin & NYX Electronic Drone Choir to perform ‘Deep England’ as part of EFG London Jazz Festival

A unique artist with razor sharp vision and uncompromising creativity; Gazelle Twin (aka Elizabeth Bernholz) has paired up with the NYX electronic drone choir once again to perform ‘Deep England’; a hair-raising transformation of her recent album Pastoral, which exhumes England’s “rotten past” and questions its uncertain future. The performance will take place on 20th November at Southbank Centre, as part of the EFG London Jazz Festival.

The collaboration was first commissioned and performed in December 2018 as part of a collaborative series at London’s Oval Space, but now Bernholz’s operatic voice will be displayed in all its glory alongside the equally as powerful voices of the NYX choir in the prestigious Queen Elizabeth Hall.

Together, Bernholz and NYX use their voices, acoustic glitching, polyphonic overtone and ambient textures to bring Gazelle Twin’s Pastoral vision to life. The unique choir explore and test the limits of organic and synthetic modulation to explore the entire spectrum of collective female voice as an instrument. Their veiled Handmaid’s-Tale-esque silhouettes are a formidable sight on stage, so expect to be blown away by the power and the glory of their live show.

GIHE will be at the show, and we urge you to grab a ticket for it here.

For more information about EFG London Jazz Festival events, click here.

INTERVIEW: ZAMILSKA

Dense, rhythmic, hypnotic beats and a fascination with levitation permeate the tracks on Polish producer ZAMILSKA‘s latest album, UNCOVERED, which is set for physical release on 19th July. Her jagged soundscapes combine techno textures and intriguing vocal samples to reflect “the anxiety of what we want vs what we get”. With her enviable ability to create beats that ricochet around our skulls, we wanted to know more about ZAMILSKA. We caught up with the Producer to talk about the inspiration behind her new record, her upcoming live shows in London (The Shacklewell Arms on 2nd August & Visions Festival on 3rd August), and to find out the details of her previous collaboration with Gazelle Twin

How did you first get in to creating electronic music?
I didn’t choose this profession, it chose me. I cannot see myself doing anything else. I’ll skip the “I have always known I will deal with music” story. It’s all true but a bit of a cliche. I always wanted to be a Rockstar, play bass or drums, throw them into the audience and break them on stage. At fifteen I got my first computer. After stumbling upon Bjork’s Post album, I knew I would be making electronic music and somehow mixing in my inspirations for rock’n’roll and world music. It took many years of hard work to get here, there were moments when I didn’t have much to eat. But I am here, talking to you. Hard work pays off, and if you think something is impossible in life – maybe you just do not want it.

What’s the industrial/electronic music scene like in Poland where you’re from? Are there gig nights or venues who champion the genre?
Perhaps it will sound surprising, but I really do not part take in the “scene”. When I am home I like to stay in, enjoy the quiet. That, of course, doesn’t mean that I stay oblivious to what is happening musically in Poland. I love Resina, with all my heart – cellist, who is extremally talented. Also, I am a big fan of artists such as: Syny, Coals, and Księżyc. The Polish music scene is getting better. We just need to stop looking and trying to follow the West, create our own sound.

Your latest album UNCOVERED is about the concept of levitation. Talk us through this theme, it’s quite a unique concept.
The concept of levitation came up during the album cover design. It was as if a remaining piece of the puzzle fell in place and the entire story came together as whole. It’s about something malevolent that you want to leave your body, come out of you so you can start with a clean slate. Exorcisms, voodoo – all that is on the album. UNCOVERED is a story about cleansing, dropping weight off your shoulders. A fall with an attempt to rise. Ultimately, you do not know if the person is falling or rising.

Do you have a favourite track on the album? If so, why?
That’s a great question. I have never thought about it. When I was making the album, I had a different favorite track every day. The ending of ‘Done’ would almost make me cry. Perhaps ‘Hollow’. I’ve heard someone on the radio saying that it’s the biggest pop banger I have ever created. I like the entire album, it is a story that only makes sense as a whole. And you need to know that it is odd for me to like something in its entirety.

You’re coming over to the UK in August to play a headline show at The Shacklewell Arms. What Are your anticipations for this gig?
I am really excited to come back to London. Playing live shows is so rewarding after all the time spent in the studio. Finally, being able to perform in front of live audience. I try not to anticipate; each show is different. You can play in a large venue and something does not feel right and you can play the show of your life in front of a thirty people audience. People are most important. I really like London as a city, I’ve spent some time there. I hope people show up and enjoy the show.

You’re also going to be playing a set at Visions festival. How are you feeling about that? Any artists you’re aiming to catch on the day?
Unfortunately, I won’t be able to see anyone on the day of my show. But if you can you should see Shygirl. It is a very special show. I saw her in Poland, she is a very cheeky girl on stage.

You host your own radio show on Polish national digital radio. Talk us through what kind of music you play, and how you came to work in radio.
I was invited as a guest on one of the radio shows, we were talking about music, and I kind of took over as a host. Radio execs liked my voice and offered me my own show. However, I just resigned from hosting. I wanted to focus on my own work, with UNCOVERED coming out I didn’t want compromise the quality of the radio show. Becoming a radio host was my childhood dream, but it was getting harder to focus on my projects and sift through fifty albums weekly, in order to choose music for radio. And since I presented music from undefined electronics, from distant corners of the World, novelties and sounds of the 50’s, I couldn’t compromise, after two years, I had to resign. I’d like to return to Polish Radio, if they want me back, as soon as I settle all my present affairs.

You remixed Gazelle Twin’s track ‘Belly of the Beast’ which was featured in the ABC series How To Get Away With Murder. Talk us through the creative process for that – how did you make your mark on her already very unique sounding track? (we’re big fans so please give loads of detail)
You want the details? So you need the entire story. In 2014 my debut album Untune placed twelfth on The Quietus’ list of albums of the year. Gazelle Twin topped the chart with Unflesh. I’d never heard of her, but the title and cover got me curious. A woman charting that high – I thought that she must be wonderful, you know “girl power” – had to be noted. I instantly fell in love. I thought she was genius. Soon after a Glasgow promoter invited both of us to play and The Quietus got involved in promotion of the show – serendipity. I would finally be able to see how she really looked under the pantyhose mask. It turned out we shared a dressing room.

I was extremely nervous to meet her in person. To the point that my manager had to just usher me into the room. Elizabeth tuned out to be a wonderful woman. I admire her in every inch. She mentioned that she was releasing Unflesh remixed and offered cooperation. I asked if it would be ok if I remixed ‘Belly of the Beast’ and so it began. I never anticipated such good response to this track. In my opinion the original is brilliant, so it was very difficult to change anything. I decided not to add but rather strip it down. Kind of echoed the sound. Instead of reverb – just a hint of dirt and bass. Only a little, not to mess with the genius.

Nine Inch Nails also recommended one of your tracks on their official Spotify playlist. How did you feel about that?
NIN are the music of my youth. I admired them during every stage of their career. They were the best example of an innovative band. A combination of heavy sound with electronic, dirty hits. It is kind of as if Jesus came down from heaven. Only you never believed in God. I didn’t want this to get into my head. I suppressed it, didn’t want this to mess with my head and make me think that’s me done. You know, the idea that Nine Inch Nails know you exist!

Finally, If you had to describe your music in three words, what would they be?
Distracted and inspired by everything…

Huge thanks to ZAMILSKA for answering our questions!

Order your copy of Zamilska’s album UNCOVERED here.

ZAMILSKA UK Tour Dates 2019
02/08/19 – The Shacklewell Arms, London
03/08/19 – Visions Festival, London

Kate Crudgington
@KCBobCut