What's been described as "a trumpet player trapped in a two dimensional universe" is in fact the unique audio work of Justice Yeldham, a maverick musician with an unhealthy obsession with sheets of broken glass. By pressing his face and lips against the glass whist employing various vocal techniques ranging from throat singing to raspberries, he turns discarded household windows into crude musical instruments. Resulting in a wide variety of cacophonous noises that are strangely controlled and oddly musical.Justice Yeldham is the latest alter-ego of Australian sound performer Lucas Abela, whose past sonic experiments were conducted under monikers like A Kombi, Dj Smallcock & Peeled Hearts Paste. Initially classed as an experimental turntablist, although his early work rarely resembled anything in the field. Early feats, saw him stab vinyl with Kruger style stylus gloves, bound on electro acoustic trampolines, drag race the popemobile across Sydney Harbour Bridge, perform deaf defying duet duels with amplified samurai swords, hospitalised by high powered turntables constructed from sewing machine motors, record chance John Peel sessions with the Flaming Lips, & be Otomo Yoshihides' favourite entry into his Ground Zero remix competition; 'Consummation' even though instead of sampling the CD he destroyed it using amplified skewers!
Thanks for the autographed CD. You scared the bejeezus out of my co-workers.
The cookie has crumbled and the grains have been tumbled out of the aerosol of synth-tone poppery into a dark, dank well where turbulence and torment cling to the talents of Karl like poisonous fungi. Since seeing this singer (pronounced Bisk-wee) in Paris last year, he seems to have undergone an amputation with traumatic side-effects. Adroitly fingered at the time as a Serge Clerc character in 3-D, the accompanying stylised cocktail mannerisms have dried out and what remains is an emotional brainburn where Fairlights blink with a hangover instead of grinning like dumb robots. 'Death', 'Loneliness', 'No Friends', 'Requiem' - with song titles like these you get the idea of the horrorshow on offer, how many ways you can terminate or be terminated is equal to the pleasures of this record. Pleasures ? Hell, yes, but not of the ugly bedsit torment sort. Karl is pretty enough to have aimed for the wide-eyed-innocent end of the synth spectrum with its lure of big bucks. Instead, he's inhabiting the cutting space that both the Human League and Depeche Mode are trying to reach in vain at present. 'Regrets Eternels' is pimple synth-pop lanced until the pus runs. Vampire instrumentation sucks at the neck of linear tunes, foreign textures unfurl and infect the clean kid's ideas. Take a peek at the liner notes and everything makes sense. Aided in sections by Blaine L.Reininger and Honeymoon Killer Marc Hollander, the whole project is filtered through the hemlock hands of Gilles Martin of the great Tuxedomoon. 'Regrets Eternels' is the alternative madness in the method dance"
If Stalking Skills reminded you of The Shop Assistants or The Fizzbombs then the new single Apathy by Liechtenstein is going to have you in further raptures! This time the band go back further and take their inspirations from girl and girl fronted bands from the post punk era.On both sides of this 7" I can hear the likes of Girls At Our Best, The Slits, The Mo-dettes and Dolly Mixture. Apathy is a slow song with some beautiful harmonies and vocals that by the songs end simply engrosses you.However it's on Security By Design that stands out here for me. It's simply sublime over it's two and a bit minutes with it's fusion of pop, reggae and a bit of Tijuana brass thanks to the Mexican sounding trumpet. A choice "cut" (The Slits pun is intended!) Listen to Apathy here.
We who have violated the laws, commands and duties of the avant-garde; i.e. to bore, tranquilize and obfuscate through a fluke process dictated by practical convenience stand guilty as charged. We openly renounce and reject the entrenched academic snobbery which erected a monument to laziness known as structuralism and proceeded to lock out those filmmakers who possessed the vision to see through this charade. We refuse to take their easy approach to cinematic creativity; an approach which ruined the underground of the sixties when the scourge of the film school took over. Legitimizing every mindless manifestation of sloppy movie making undertaken by a generation of misled film students, the dreary media arts centers and geriatic cinema critics have totally ignored the exhilarating accomplishments of those in our rank daring to rip out of the stifling straight jackets of film theory in a direct attack on every value system known to man. We propose that all film schools be blown up and all boring films never be made again. We propose that a sense of humour is an essential element discarded by the doddering academics and further, that any film which doesn't shock isn't worth looking at. All values must be challenged. Nothing is sacred. Everything must be questioned and reassessed in order to free our minds from the faith of tradition.Intellectual growth demands that risks be taken and changes occur in political, sexual and aesthetic alignments no matter who disapproves. We propose to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men. We pass beyond and go over boundaries of millimeters, screens and projectors to a state of expanded cinema. We violate the command and law that we bore audiences to death in rituals of circumlocution and propose to break all the taboos of our age by sinning as much as possible. There will be blood, shame, pain and ecstasy, the likes of which no one has yet imagined. None shall emerge unscathed. Since there is no afterlife, the only hell is the hell of praying, obeying laws, and debasing yourself before authority figures, the only heaven is the heaven of sin, being rebellious, having fun, fucking, learning new things and breaking as many rules as you can. This act of courage is known as transgression. We propose transformation through transgression - to convert, transfigure and transmute into a higher plane of existence in order to approach freedom in a world full of unknowing slaves.
Tons of reasons that if somebody asks me "Have you listened to this band?" or Do you like "David "can't" Cook? Answer is surely NO. Maybe I'd be polite for a second and answer them "Not Exactly" or give them a wrong answer like. "Is he from Depeche Mode?"
Anyway, there's no room for pre-packaged or commecially released music in my sub-conscious. I just came and went. Here's what's playing in my cranium. I'm trying hard to get it. It's torture but worth it.
Johanna Went is a US-American performance artist who primarily works in the Los Angeles area. She started her career in the late 1970s as musician in the punk scene. Music is still an important element of her shows. She has often worked with musician Mark Wheaton, whose fast, rhythmic music beats provide the background noise in several of her performances. Further predominant elements of Went's shows are the use of elaborate costumes, which Went herself creates from various found objects, and the use of artificial blood. The latter played an especially important role in her early work. Went's performances are not strictly text-based. She typically works based on a sketch that determines the rough sequence of actions, but leaves much room for improvisation. Went rarely uses language in her shows as means of communication. She rather sings, screams, whines and murmurs, thus rendering large parts of the spoken words incomprehensible. In a typical show Went goes through several costume changes, dances, jumps around, sings, plays with often very big props that she frequently tears apart and tosses into the auditorium. Several of her shows culminate in the pouring of artificial blood over her own body, costumes and props. Went's performances thus could be said to foreground the aesthetic quality of fast, spontaneous bodily movement and the material quality of voice and words. The creation of a certain dynamic or energy on stage as well as a certain formalist concern with the quality of colors and material take priority over conveying any particular message. Critics have frequently characterized Went's shows as "chaotic", "wild" or "shocking". Her work is often seen in context of other women artists of the 1980s whose performances are regarded as daring and transgressive, such as Karen Finley, Lydia Lunch, Diamanda Galas or Dancenoise.