#lucas granpa abela

[noise27]

[onryou-onryou]

Lucas Abela live stream 310521

[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

[hidoievent]

2016年 7月 22日

Lucas ‘Granpa’ Abela Japan Tour 2016 powered by ひどいイベント

会場：Shangri-La 仙台 出演者： ・Lucas ‘Granpa’ Abela from オーストラリア - ライブ ・佐藤実 - ライブ ・佐藤貴宏 - ライブ ・菊地良博 - ライブ 「ひどいイベント」の協賛というかたちをとり、菊地と佐藤貴宏の二人がオーストラリア人アーティストLucas Abela のライブをオーガナイズした。 菊地は、新旧2 台のコンピューターを使用した、アブストラクトなソロ演奏を行なった。佐藤貴宏は、自作の回転するデバイスと2 台のマイクを用いて、それらが発する音響の繊細な変化を提示した。

ゲスト・プロフィール Lucas ‘Granpa’ Abela はJustice Yeldhum というプロジェクト名で活動するノイズ・ミュージシャン。 彼のパフォーマンスは、多くのエフェクターを並べ、そのパラメーターを調整するような、ありきたりなノイズ・ミュージシャンのそれとは根本的に違い、ピックアップ・マイクを貼り付けた大きな板ガラスの破片に唇を当て、様々な発声法を使いこなしながらその振動を増幅させるという、彼以外に実践する者がいないユニークなもので、それは彼自身の言葉を借りれば、二次元にはま り込んだトランペット・プレーヤーによる演奏だ。 鋭利なガラス片にためらいなく直接唇を当てる演奏は当然彼の顔を血だらけにし、ガラスが割れ切るとパフォーマンスが終了する。 今まで４０の国々でパフォーマンスを行い、観客を驚愕させ呆然とさせてきた（Hella、Death Grips のZack HIll との競演を含む）Lucas は、カセットテープから取り出した膨大なテープに風船を取り付け、それを風船の浮き沈みを利用して自作のプレーヤーで再生するインスタレーションや、ピンボール・マシンを改造した作品など、ユーモラスな作品を制作するアーティストでもある。 彼はまた、Deerhoof や、Boredoms のEYE とYoshimi によるNoise Ramons、Sub Pop からリリースするヒップ・ホップ・グループClipping の前身Captain Ahab、Kid606 のtigerbeat6 からデビューしたエレクトロニカ・ミュージシャンKevin Blechdom などを幅広くリリースするdualpLOVER という��ーベルを運営している。 仙台でのパフォーマンスは今回が初めてとなる。

[caelansnoisynose]

Australian glass-playing noise-artist Lucas Abela a.k.a. Granpa a.k.a. Justice Yeldham. (Justice Yeldham was the name of a court judge who committed suicide and was later found to be having an affair.)

Shown to me by a friend after I showed him how to build a contact mic.

Abela played with instrument-building since the ‘90s.

His work relates to exploring material as a noise-maker, and embeds the act with the sound.

“I see the glass as a magnified stylus that I vibrate with my mouth instead of a groove. “

His work is kind of ironic and yet also points out what it means to be a true musician. He is fully within and committed to the work despite the pain. In his case, the pain is manifested to the viewer during the performance, not hidden behind the scene by callouses from steel strings or the frustration of coordinating one’s fingers on piano keys.

It’s fundamentally aggressive. It relates to my idea of using a speaker because it’s subversive and he’s playing with and expanding dissonant, aggressive, even transgressive, sound as worthy of high art and expertise. It’s ironic because it’s such an unlikely source, and it comes at a great, virtually unrealistic, cost (for the general public). It, at the same time, can seem to mock and venerate the myth of the genius in art.

Testimonial from his website, http://dualplover.com/yeldham/

"Utilising just a piece of glass (found in the area of the performance), a contact mic and some pedals, justice comes onto applause and anticipation from the audience anxious to see the spectacle. Dressed in what looks like a doctor’s gown, his attire gives Yeldham an arguably fitting sideshow freak appearance. After a brief introduction Yeldham launches into full performance by doing what he does best. An intense cacophonic human explosion of condensed cathartic vibrations follows, laced with a kind of transgressive, yet genuine euphoria. In a world of digital laptop complacency, Yeldham’s performance nods more towards Jap Noise legend Masonna for its organic tour de force and true outsider punk spirit, with a tongue in cheek (or rather in this case, pressed up against glass!) approach and cutting humour that the noise/improve scene usually lacks. An audience member between 'tracks' asks Yeldham to bleed at one point, evoking brief vocal disdain from Yeldham. Indeed Yeldham has stressed that any bloodletting that may occur is a by product of the show and not the primary intention. And disappointing for some, Yeldham does not bleed during this show, but bites through the glass toward the end to shocked gasps from some members of the audience. Whether or not Yeldham bleeds after his performance (and at 20 mins Yeldham leaves not his repertoire to overkill, much like classical punk performance) is irrelevant, as in a world of contrived noise makers, Yeldham’s show cuts straight through to the jugular by means of simplicity. And succeeds - in being both unique and bringing a much needed breath of fresh air into the scene. Famously described by one journalist as “The most exciting performer I have seen in the last three years – in fact, since I first saw Iggy Pop" .He’s not far off - its exciting, raw untamed stuff in a world of full of complacent bores .If you ever get the chance (and Yeldham has toured everywhere - from Berlin to Korea with his show!), catch him if you can…."

Andy Black Forest - Supersonc Festival - beat 13 - Burmingham 221012

Interview, process and some skill.

“My installations are mainly driven by my philosophy that noise music is far more fun to make than watch.”

"First up, I got to see this guy perform live – and I seriously was not expecting that. There’s no blood but the intensity of the emotion reminds me of early Neubauten or Nina Simone or someone: he has a trunk full of effects and delay and distortion pedals, and he’s not scared to use them. He blows crazy shit across a shaped plate of glass for 20 or 30 minutes or so, and it’s crazy shit good – so good, that when he started I figured Nicola had slipped on an extraordinarily loud noise tape and I could not quite understand why everyone was crowding around the ‘stage’. The noise is incredible – and when I type ‘noise’, I mean layers of sound, texture, understanding, dissonant harmony. Really incredible. I never was much one for guitar shredding or extended drum fills or virtuoso vocal acrobatics, but it seems the one thing that will really get my pulse racing is some glass shredding. Seriously. This is body-expanding. Sometimes I’m laughing out loud at the nerve and brilliance of it. Sometimes, I just want to fuck shit up (plus ça change). Halfway across it bothers me that few people are dancing amid the ruins but then I figure they too are too stupefied. Justice tells me afterwards that he can’t get booked no more: this is only his second performance this year. Man, this man should be headlining the fucking Sydney Opera House. He’s a fucking MASTER or MISTRESS, or have it what you will, of his chosen instrument. I feel the same empathy towards his music that others doubtless feel for fucking Kevin Shields. (Not literally fucking Kevin Shields, you understand – though maybe some feel that too.) He can’t get booked cos he’s an experimental artist – frequently gets called a ‘performance artist’, much to his disgust – and so he’s meant to be always switching around, trying out new ideas and forms, not concentrate for several years on becoming the world’s leading glass shredder."

Everett True - collapseboard - Brisbane 210614

WARNING

Links:

https://thebrag.com/lucas-abela-sydney-festival/

Coming collab. with experimental hip hop Death Grips. Performed in 2010 with drummer Zach Hill.

https://noisey.vice.com/en_uk/article/bjvmq5/death-grips-are-working-with-face-shredding-artist-lucas-abela