Album: The Entire City BIO In Bourbon and Regency times, masked balls were a milieu of liberation, allowing people to shed their own inhibitions the strictures of society, and inhabit different personae for a night. In the 21st century, the same can apply in pop. Fittingly, biographical details about Gazelle Twin -- a shadowy entity who creates unsettlingly beautiful, hypnotically haunting musical Art with a capital 'A' - are scant. The Gazelle Twin is -- or, perhaps more accurately, is not -- Elizabeth Walling. As a child she was "a bit sensitive, anxious, maybe a bit too reflective". And for now, that is already quite enough. Gazelle Twin is a refreshingly discreet, secretive animal in a world where new female starlets no sooner fall off the conveyor belt than clamour to reveal everything about their tedious private lives, even their physiques, in song and interview, photograph and film. "I hate the way," Walling explains, "that most female artists face a minimum requireme! nt to appear sexually available... not that sex is wrong, but there's so much more to a person isn't there?" From the start, Elizabeth Walling has utilised the anonymity provided by costumes, masquerade-like, to assist in her performance. "The original reason," she acknowledges, "is that I'm quite shy and, with my face on show, I'd be inclined to be meek and apologetic." Nevertheless, Walling does not hide herself in masks and headdresses merely to present an 'alter ego' or 'dark side of the self' or ...
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