#justice yeldham

[uboatheflesh]

Uboa live w Lucas Abela (aka JUSTICE YELDHAM), Yvette Ofa Agapow and @teethdreamer @ The Tote 07/04/24

Credits by photoyunist

[triumph-of-adaptation]

Got to see Lucas ‘Granpa’ Abela play in Boorloo a few nights ago. He’s incredible! He makes noise through modular synths with a shard of glass to his face. Very moving.

[teethdreamer]

teeth dreams // The Old Bar // 7 Apr. 2024

📷: photoyunist

Super fun night with an incredible crowd! Played alongside Lucas 'Granpa' Abela (fka. Justice Yeldham), UBOA, & Yvette ofa Agapow

Xandra & I ordered pizza for dinner but we ran overtime with soundcheck and ordered it a little late, so it arrived right after my set started. She ended up bringing it onstage so we could have a little snack during my set.

📷: b

[midi-wizard]

amazingly composed candid photo taken at Coaxial last night

pc IG: @ x_starofthesea_x

[oppositional]

flyer by tim leanse

[doktordismemberment]

Party Dozen

Fucking zonked two piece no-wave/ free jazz/ noise rock unit from Sydney Australia... Imagine 16-17, Melt Banana, Slaves, Justice Yeldham, and Lightning Bolt falling into a blender and you're not too far removed from the damage happening here.

[carvinglittleholes]

such good album joh shi I forgo

[invisible-show]

Invisible°Show presenta

EVICSHEN (San Francisco, U.S.) + 3 dj-set dal collettivo Ono

EVICSHEN (San Francisco, USA) Evicshen è Victoria Shen, un'artista del suono, performer e inventrice di strumenti musicali. A Boston è stata allieva e assistente della creatrice di strumenti elettronici e musicista noise Jessica Rylan (discepola, a sua volta, del pioniere nella sintesi del suono Don Buchla).  Le sue cacofonie ricorrono a sintetizzatori analogici (i Flower Electronics della stessa Rylan: "il meglio dei sintetizzatori modulari degli anni '60 e '70, effetti di pedali di chitarra anni '80 e teoria del caos"), oscillatori, microfonografi, dischi in vinile e altri strumenti autocostruiti per amplificare il  suono di oggetti comuni: tra questi, ha inventato i Noise Combs, pettini per capelli dotati di microfono a contatto, e le Needle Nails, unghie di acrilico con aghi da giradischi che le permettono di suonare fino a 5 solchi di un disco alla volta (un'idea particolarmente apprezzata dal team creativo di Beyoncé, che ne ha tratto ispirazione per un video prodotto per British Vogue). La pratica multimediale e fai-da-te di Shen si estende oltre la strumentazione, con metodi non tradizionali di distribuzione degli album: il vinile del suo Hair Birth, del 2020, ha una copertina in rame che si può ridurre ad altoparlante, attraverso cui - una volta collegato al giradischi - lo stesso disco può essere ascoltato; di recente, ha iniziato a pubblicare dischi in resina di cut-up fatti a mano a partire da materiali ritrovati, proponendo non semplici pièce musicali, ma autentici oggetti d'arte. L'approccio non conforme di Evicshen decostruisce i concetti di materialità, valore e produzione di massa, integrando e ricontestualizzando le tecniche del readymade e dell'assemblaggio di tecniche per concentrarsi sulla fisicità del suono e sulla sua relazione con il corpo umano, indagando gestualità e grana sonora piuttosto che armonia e ritmo, in un repertorio d'innovazioni e sculture soniche con cui esplorare le possibilità di estrarre suono e rumore dal quotidiano e con cui riflettere sul limine tra espressione individuale e massificata, aura e industria, controllo e caos, senso e non senso. Classe '89, influenzata da Jean Baudrillard, ha suonato con clipping., Maria Chavez, Aaron Dilloway, Wolf Eyes, John Wiese, Xiu Xiu, Justice Yeldham e Bonnie Prince Billy. Attualmente lavora per il Center for Computer Research in Music and Acoustics di Stanford e per la School of Visual Arts di New York. https://evicshen.com/sound

A precedere e a seguire la performance live di Evicshen: 3 dj-set dal collettivo Ono

Ono è un collettivo di dj e producer che si propone come contenitore di sottoculture musicali, un luogo dove incanalare, diffondere e amplificare energie inespresse. Organizzando eventi di musica elettronica, workshop e attività culturali mirate oltre alla costruzione di rapporti, anche alla sensibilizzazione verso linguaggi lontani nel tempo, il collettivo itinerante entra in dialogo con diversi spazi della città di Bergamo con la volontà di sensibilizzare a indagare le connessioni tra linguaggi e sfaccettature della club culture contemporanea e passata. www.instagram.com/ono.collective www.mixcloud.com/onosecond ore 21.30 SMIYYA Collisioni elettroniche tra ritmi, voci e strumenti dal Sudovest asiatico e dal Nordafrica, per un'estasi a base di electroṭarab. Membro di Ono | www.instagram.com/smi.yya/ ore 23.30 Laada Amante dei boschi, co-fondatore di Ono e Inascolto, membro di FUCK!LACRÈME e cupocupo, propone intrecci e giravolte del subconscio - e bassi ovunque | www.instagram.com/ea_gre/   ore 01.00 JIIJI Percussionista, co-fondatore di Ono, membro di FUCK!LACRÈME, esplora la scena dell'elettronica contemporanea influenzata dai generi africani e afro-latini, dove ritmi e percussioni prevalgono | www.instagram.com/_._jiiji_._/

N.B. Informazioni utili:

Apertura porte alle ore 21:30

Per questo evento è necessaria la prenotazione. Per sapere il luogo esatto e prenotarsi: invisibleshow@yahoo.it

Chiediamo un’offerta di 10€ a vostra discrezione, per la copertura delle spese e degli artisti

Durante la serata sarà a disposizione un servizio bar con mescita di vino e birra

www.performatorio.it

[instants-chavires]

Merci Ben LX

[james888888]

Lucas Abela - justice yeldham

[uboatheflesh]

im playing with lucas abela (fka as justice yeldham, yes the death grips glass man) + yvette ofa agapow + the incredible @teethdreamer . @ the tote, this sunday 6pm, melbourne/naarm australia. Tickets here.

[streetart-nightly]

AJA + PHANTOM CHIPS + LOULA YORKE + A’BEAR

Poison Idea + The Domestics + Rad Pitt + To The Nines

Sly & the Family Drone + Justice Yeldham + Buddy Lee Dickens + MU2

posters at Colchester Arts Centre, 2019

[musicmakesyousmart]

Recovery Center / Justice Yeldham

Mutual Aid

2021

[midi-wizard]

running a Justice Yeldham show tonight, how fitting the guy who cuts himself playing glass as a performance comes around on Friday the 13th

[dustedmagazine]

Listed: Upper Wilds

Dan Friel has been a mainstay of Brooklyn noise rock since the aughts, first with the obliteratingly loud (but kinda hooky) Parts & Labor, then with a series of ebullient solo albums and now, three records in, with Upper Wilds. Reviewing Venus, his latest, Jennifer Kelly noted with approval that it was, “a continuous barrage of bass and drums, knocking his inimitable fuzz-crusted hooks sideways and to pieces and rampaging on regardless.” Here, Friel lists some of his favorite live performances, and we agree 100% about the Coachwhips.

Friel notes that “It's been a good year for reflecting on the importance of live performance. Here is a wildly subjective list of good shows I ended up at. The clips aren't necessarily from the sets I saw, but I tried to be somewhat era-appropriate.

Suicidal Tendencies (1992)

My first show. I was 16, and really liked “How Can I Laugh Tomorrow If I Can't Even Smile Today.” Not something I still listen to a ton, but thrash-era ST is just a fascinating combination of anger/positivity, chops, and fashion choices. I got a ride to the show in Worcester, MA with older kids who had to shovel beer cans out of the backseat into the Stop & Shop recycling center for change to put in the gas tank. Suicidal were just past their peak, but still had some of the best players in thrash (Rocky George forever) and blew Megadeth off the stage (near as I can remember).

Rorschach (1993)

My first punk show, in a former porno theater, with Universal Order of Armageddon. I had never seen anyone move around that much while playing music and thought their cover of King Crimson's “21st Century Schizoid Man” was an original for long enough that hardcore and prog are still hopelessly intertwined in my head.

Ornette Coleman and Prime Time (1994)

My first big jazz show. Ornette took some extremely punk violin solos, the set was short and chaotic, and the whole thing was so fluid and conversational it felt like watching a group of people form a river.

Black Star (1999)

My first night living in NYC. I had just started working at the Knitting Factory, and Black Star played for like 2+ hours with The Roots backing them up. A long way into the set, Questlove took one reality-shredding 8-bar drum solo, and then quietly went back to holding it down for the rest of the night.

Sainkho Namtchylak (2000)

Sainkho Namtchylak is an experimental vocalist from Tuva. I went into this show blind, and still think frequently about the range of sounds she was able to make, and the point where she seemed to visibly realize she didn’t need the microphone to fill the 250-capacity room with those sounds.

Yeah Yeah Yeahs (2001)

The first YYYs show I saw was also at the first real show I played in Brooklyn. Karen O performed wearing a plastic bag for a shirt and screamed real good on “Art Star,” and their set was the first time I felt like I was watching a band become famous in real time.

Friends Forever (2003)

Friends Forever was a band from Denver that played in their van instead of venues. They were goofy and loud and highly representative of the moment. I saw them a few times, including a Halloween-ish show outside Brian Chippendale’s space in Providence, which included a lot of flying pumpkins and punks jumping through a small fire.

Coachwhips (2004)

John Dwyer is never not entertaining, but there was this one small show in a junkyard outside of Austin where he just kept picking up lit fireworks and throwing them back at the audience, and I really wish there was footage somewhere. This show was good too.

Justice Yeldham (2006)

Justice Yeldham (aka Lucas Abela) has been traveling the world biting off pieces of amplified broken glass for a while now. I first saw him at Monkey Mania 2, Friends Forever’s space in Denver. Beyond the obvious madness of performing with broken glass, he’s an extremely dynamic musician with crazy range on his instrument, and it always rules.

Pet Shop Boys (2010)

A wise British friend dragged me to this at a festival I played, and I'm still confused as to how they pulled off this billion-dollar Broadway-esque trick of projecting onto a wall of bricks, having the wall collapse, having dancers pop out of the bricks, and then having the bricks reform the wall. It's true that I don't go to a lot of big-budget stage productions, but I swear it was nuts. Having 10,000 people sing along to the chorus didn't hurt either.

[killcrys]

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