Tuesday, December 29, 2015

Lucas 'GRANPA' Abela subcriptions

As a 100% DIY artist I’ve thought long and hard about the best way to independently release and distribute my music in the 21st century. Reflecting on that often-repeated conversation on how people wish they could just hand their favourite artists money, I decided to do just that. From here on people who like what I do have a simple way to show their appreciation and support my efforts. For a $10+ donation per year you can access my back catalog and enjoy any new music I make as it’s created. By becoming a subscriber your support will help me continue as an independent working musician helping me; stage international tours, produce new recordings, create installations etc.

The genesis of this is partly due to my creative transition from Justice Yeldham to Granpa. Honestly, the difference between the two is subtle, in both I perform free-noise on shards of broken glass turned into crude musical instruments. The difference being; Yeldham was centered on ecstatic pure improvisation often resulting in maniacal performances, while Granpa is an attempt to rein in the instrument and take it in a more musical direction. My hope is the difference helps dispel some of the negative connotations my bloody forays as Yeldham have created, the blood for some overshadowing what I consider a truly unique musical output. However, it must be told live this transformation is far from complete, Yeldham being the Hyde to Granpa’s Jekyll, occasionally taking over my subconscious.

As part of this I have been making a concerted effort to rehearse, an activity I’ve rarely partaken in my first 20 so years or so of making music. I’ve always felt improvised music should be made in that moment of raw energy that’s produced between performer and their audience. This philosophy has led me to only make music on stage without any preparation beyond making and testing instruments and equipment. An approach that has resulted in some good shows some bad shows and some incredible shows where the power of the performer / audience feedback loop has driven me to perform ecstatic stream of consciousness pure improvisations.

The only problem with this technique is that I rarely remember how I produced this sound or that and can rarely repeat some techniques discovered in the fog of performance. So now as Granpa, I’m trying to find that mean point between true improvisation and being prepared enough to improve my musical output and in doing so hopefully eliminate those occasional bad shows. My new rehearsal regiment has resulting in some unforeseen consequences, non-live recordings, which up until now have been a rarity. Some of these recordings aren’t bad so I thought I should make them available, deciding the subscriber model as the best way to share this output in an equitable way with the people that truly give a shit.

As a noise artist I’ve never been as prolific as others so don’t worry I’m not about to start releasing everything I fart out, these new offerings will be carefully curated from the best moments these sessions produce and then made available to subscriber’s exclusively, along with any new live recordings that emerge and access to my back catalogue including all the Justice Yeldham, Peeled Hearts Paste, DJ Smallcock, Rice Corpse etc releases. Monthly newsletters will let subscribers know when new material is added along with giving details of any up and coming tours and exhibitions.

The first subscriber exclusive material is the recently sold out GAGU tape which was recorded during in a single collaborative session with Rully Shabara (Senyawa / Zoo, Indonesia) and Ramberto Agozolie (Zoo, Indonesia) in Yogyakarta way back in 2010. Heathen Harvest describes the tape as “a series of short convulsive improv jams that are like Ruins meets Melt Banana meets Naked City meets Justice Yeldham. Free-jazzy noise in bite-sized pieces, it displays everything great about Abela’s broken-glass mastery, proving once and for all that it’s way more than a crowd-pleasing schtick”

This should be worth the $10 cover charge alone but along with it you’ll be receiving at least 11 more offerings if not more over the next year. Additionally subscribers will be offered free entry into shows & exhibitions*, discounted physical product when released and carte blanche permission for credited creative common use of anything in my archive for non-commercial activities.

Lucas Abela

*dependent on agreements with individual promoters.


Saturday, November 21, 2015

Chinese Article from 2000 finally translated with hilarious results

When i first went travelled china in 1999 i tried to get some gigs by posting (like physical mail) out some music and information to various people who were recommended, but was unsuccessful receiving no replays at all. While there, at a party soon after new year in Jan 2000 i finally met someone into experimental music and after some conversation about my music he said to me 'hey your the guy in the magazine" "what mag" i exclaimed in response "just go to any magazine stand on the street and buy the music magazine with Ricky Martin on the cover" he replied, confused i did just that the next morning and found this article in amongst what you could only describe as an otherwise mainstream music magazine.

For the last 15 years i've had no idea what it said but recently found a site that translates scans, here are the hilarious results.


In addition to noise and nothing else
Eleven Australian Vendetta Lucas Abela

14 years old Lucas Abela Abela [animal Cass) became interested in experimental music, he dropped skateboard, started playing this weird music. If it happened in China, I am sure that all of the teacher and the Dean's Office long have resigned. But Australia, dagger Lucas this play not only down, but also intensified - door 1993 in Sydney doing a radio program, Lucas made Otomo Yoshihide interview, then he made a sound as the latter again Nirvana album, in near 20. Get parts enroll remixes used again; he was Jon Rose (their mutual friend, to noise electric violin and sampling is known, in 1993 and in 1998 participated in the Beijing International Jazz Festival) in Rotterdam organized by Festival and Otomo Yoshihide same stage, and agreed later to Japan cooperation album Otomo praised him as "extreme DJing division." That same year, Lucas bought from a Japanese tourist in the hands of an A Kombi camping steam
Tone circuit - they rely on each other to touch communication circuit noise. For such a pioneer in improvised music, people, strange ideas may further educating the spirit of improvisation is closely linked with its own, it might lead to more interesting events; dagger Lucas had an appointment with a show organizer, by phone do a show. But when he drove find coffee point after treatment but found the phone has been out of service, and his tires and trapped him in unrighteousness. Lucas drove a flat tire when the car ran ten kilometers of parents turn to when his father refused to lend again inexplicable reason the phone - perhaps his father was right, in order to protect family property - and then went to the nearest phone booth Lucas, toward phone venue Sydney Cafe De Lane screaming for 20 minutes. A group of people swarmed, surprise, funny and difficult to understand, they came and asked, "Ah you in the end doing? And Lucas handed the phone to them, and sped away, leaving these people
Car, and later when he found the wipers can send him heard 'best voice "it is actually a sharp treble eleven eleven then later he started the record company, publishing the first album was released in the name of A IKombi' Story Music under .Drive-by "(1994), more and more recent thing is, Lucas will be before Christmas, as a tourist to Beijing, of course, bring his infamous pile of strange equipment, abundance river boat, the ancestral DoTL, Wang Fan, Zhu Zhenzhong do these Chinese musicians together on the same stage. Simply put, Lucas is playing noise music, people he classified as Electro-acostic Noise, is "electro-acoustic noise." But this has a strange idea of countless people and is often understood as "the voice of an act 'artists, for example, Lucas once and associates Severin (plug Lin) together, in a show naked, genitals top each puncture a Jian Zhen root attached wire-this is the black box noise S invention
Issued a silly question to the telephone to end the show. As for the Otomo Yoshihide Nirvana sound again, it is such that dagger lucas go 'Time Bomb' record store to buy the album, take it home. He tied the CD on the engine gear destroyed, and at the same time recording, video, pictures - "making noise so a fully charged again mix, I prefer to use CD's surface rather than the actual sound CD inside" - the photo After washing out, Lucas put together a box along with the video, the Friends of the small performances brought to him personally. Yes, it is fun, but the company's Web site at Lucas explained the personal album Plover Brand Peeled Hearts Paste ((Xi Bird skinned cardiac sauce, "a self-proclaimed food produced for the treatment of diseases when listening to music) is said:" The album in addition to noise and nothing else, but for Lucas, this means continuing with loud wobbling frequency to attention and create awareness of divinity in this meditation process, Lucas entered
Another universe ruled by the sound, where he was able to exist in a universe in harmony with the bright hope of finding Lucas individual phantom sound internal oracle-like vibration, in order to help him into a higher awareness of the world all-around and reach the intangible of the realm. 'This is amazing, I do not know that he is an expert, or heroes. Lucas certainly attach great importance to personal inner feelings and creativity, in his June 2, 1996, in London Bridge nearby Back space, with a population of wacky musical instrument - through several effects tied around the waist, connected to the turntable pickup movement - issued a large number of non-melodic electronic blasting treble. That fact is sewn turkey with kitchen utensils, is to replace the needle, Lucas called the "mouth work ', he thinks this stuff range sensitive, can come up with a dynamic, mercurial voice, make him in the show in a stream of consciousness state, forget everything around to put them. Now for the feeling and convenience can invent 'mouth work', Lucas will create a different and even invention is known since he tied the DA Ding recorder camping car roof and drove " Play 'and recording since the publication, dagger lucas has invented many fun things, one of the "bridge" and "The Glove' imitate other musicians get more use. 'Bridge ", one of his favorite weapon, because the shape of the Sydney Harbour Bridge is named on an arched steel frame, a number of engine driven by the rapid rotation of the disc, dagger lucas the sword, hunting knives, spits so do the needle on vinyl, circular saw blade, stainless steel plate and sheet friction. The "glove", except the thumb, each finger comes with a stylus for his sampling on record or anything else, he Gloves the stuffed corduroy pants, the result is that he looks like a varicose aliens. In addition to 'bridge' the modified turntables and stylus devices, he also frequently use wind turntables, grinding knife with a stylus, multi-loop machine needle and other "sound nihilism tool". Lucas is not afraid of the audience feel ridiculous, he prefers to be referred to as entertainers and not musicians. He thinks too much noise music sound cruel but because the audience does not adapt, "the audience is by no means come to bear. I want to give the audience an interesting show. This meditation he likes the noise, but also on the character and the game-he even likes to do about the scene of Techno, because "the audience will not like that stupid noise away like polite applause at the show," he wanted the audience to see the music the conceptual motivation, listening to the sound of things behind. About his record company, Dual Plover ("Two Birds"), the word comes from Japanese into English, means "double-headed dildo ,, but in the bottom of the comment trademark but is 'One Bird Ding .w Stones' ( A bird two stone ', which is said everything in their recording, publishing, policy issuance album - looks both like a conspiracy, funny and very recently, the company's major event is the publication of Lucas new album Rebirth Of Fool ("stupid Resurrection"). Their tagline is just the conclusion of this article can be used as -. "In the play was a fool before playing a fool" (Yan Jun Liu Yi)

Monday, October 26, 2015

GAGU new Tape collaboration between Lucas Abela, Rully Shabara and Ramberto Agozolie.

When I asked seasoned free-noise performer Lucas Abela (Justice Yeldham, Australia) to submit a tape to NO RENT I half expected a recording of one of his no holds barred glass shattering performances. Instead he surprised me with a collection of micro improvisations titled ‘Gagu’, which were recorded in Yogyakarta, Indonesian five years ago with Rully Shabara (Senyawa / Zoo, Indonesia) and Ramberto Agozolie (Zoo, Indonesia).
The Gagu (meaning mute in Indonesian) session was initially set up as a collaboration between Abela and the Indonesian punk band Zoo but unfortunately (or not considering the results) the remaining two members of Zoo were not able to attend. So the glass/vocals/drums trio forged on and laid down these twenty-eight frenetic tracks that bridge between, free jazz, dadaesque poetry and abstract noise.
Jason Crummer - NO RENT RECORDS
more info here

sample track below

Sunday, July 5, 2015

IV:BPM will debut in New York at ‘Anxious Spaces II: Installation as Catalyst’ on the 5th July 2015 at the Knockdown Center in Queens NY, curated by Clocktower ProductionsJoe Ahearn & Alanna Heiss the exhibition explores how installations can facilitate & inspire performance.

IV:BPM is a participatory instrument / installation that uses IV drips as the percussive source for a set of portable single beat organic drum machines. Forested together this mass of IV stands will generate overlapping beats coming from a multitude of directions to form complex surround polyrhythmic compositions that are unique to each individual’s binaural experience of the space. The audience will be able to further personalise their experience by intervening with the instrument in three ways; adjusting the IV nozzles to change the BPM, manipulating audio effects platters unique to each stand to augment the sounds and shift the stands within the space to alter the mix. These participatory elements turn the installation into an instrument/drum machine orchestra, performed en mass by random public attendees.