BYE BYE TSUNAMI
Experi-metal, post-mental sounds from planet 無
BYE BYE TSUNAMI are a group of sick individuals who thrive in uncertainty and find delight in the entropy of noise. The Copenhagen, Denmark-based trio employs disrupted rhythms, unique self-built futuristic wind instruments, and heartbreaking cyborg screams to expand the musical language beyond its wildest horizons. Scavenging the distressing remnants of a future no one wished for, BYE BYE TSUNAMI are redefining the new era of post-real.
“If you want something really weird to mess with your perception of music, BYE BYE TSUNAMI present the most outrageously bizarre record you’ll hear this year. And to be clear, it’s January.” – Distorted Sound Magazine
“The most exciting performer I have seen in the last three years – in fact, since I first saw Iggy Pop” – The WIRE magazine
Today, we take a deeper look at the man that makes music with cut glass named Lucas Abela aka Justice Yeldham. A figure who has deemed a legendary status amongst many in the underground and noise music scene across the globe.
My (Justice Yeldham‘s) glass journey started on January 11th 2003 at Lanfranchis Memorial Discotheque’s, (a Sydney DIY space some friends and I had set up). While sound checking I noticed a pane of broken glass in the corner and instinctively detached my mic from the garden tool I planned to perform, popping it instead onto the shard. In the next moment, as I pursed my lips against the glass’s edge for the first time, hearing it’s clarity, I had a revelation, I found my instrument. Then and there I decided to commit singularly to glass, refine it, perfect it, push it technically, through vocal technique and hardware augmentation, to discover everything possible with it.
Now after twenty years of playing glass I’m planning a series of celebratory performances around the world starting on its anniversary the 1tth January 2023 at a warehouse venue in Sydney not far from where in all began. For the show I’ll be performing both the original mono pedal belt set up and the current quadraphonic modular version of the show to illustrate the profound journey I’ve taken with this unlikely and sometimes misunderstood instrument.
I do hope you can come!?
“Seeing Justice Yeldham for the first time is an experience, though using such a cliché is an unlawful disservice to how unequivocally flooring this guy is while performing… This Australian gentleman, for those who may not know, plays a broken sheet of glass affixed with a contact mic and runs it through a series of pedals… The blood-and-spit soaked live experience screams novelty, but Yeldham is the furthest from freak-show connotations a first glance might elicit. Yeldham has total control over the sounds and frequencies that erupt when he presses his face against the glass and contorts his face against the glass and contorts and screams out a symphony of alternate-dimension sonics. An unrelenting and powerful artist, a true original”
“For his quarter hour show, he grunts, squelches, hisses and farts with face pressed to pane as he gradually destroys the instrument. Afterwards, scattered glass, spit and blood cover the floor.
One of the most important things when I play,” he tells me, “is that you can see the relationship between my actions and the resulting sounds. This is something that’s been missing in a lot of contemporary music practice, whether it be lap-toppers or platinum selling singers.”
“Immensely powerful, really good, like really.” – Amsterdamse Popprijs 2022
Melding the aggression of punk and technical intricacies of jazz, OATS are making their mark with an emotional and hard-hitting live act. Luscious chords and theatrical vocals go alongside earth-shaking bass and virtuosic drums. Their refreshing blend of genres such as emo, math rock and experimental hip hop ensure a passionate performance not to be missed. The band’s songs are injected with a sense of societal urgency. “REFORMAT TO RUN” is a plea for its listeners to strive for change and growth despite discomfort. “TV DINNER” deals with our attention being held captive by an endless stream of media. “FLOOD” is about the anxiety consuming us as the world is affected by climate change. The band are currently recording their debut EP as well as nurturing the Amsterdam musical scene with their Lilac Underground Sessions, showcasing up-and-coming bands. Their newest single “MAGNOLIA” will be released on February 24th and they are preparing to play at Complexity Festival 2023.
Bookings are closed for this event. 50 tickets will be sold at the door