Maverick musician Lucas Abelas ecstatic performances with shards of amplified glass

are the stuff of legend. Their practice emerged within the noise underground, where the

glass evolved from a means to create free-noise cacophonies into an oddly versatile

instrument producing an organic form of outsider electronica. Played somewhat like a

bellow-less electric reed instrument, Abela subtly vibrates their lips against the shards edges

to transmit micro-sonic vibrations into the pane. This single source of audio feeds a

1. complex array of processing giving the instrument the illusion of ghostly accompaniment

forming dense layers of anomalous music. The sound coaxed from such an unorthodox

instrument is formed between the symbiotic relationship the glass shares with the acoustics

of place, together they become a means to play space itself, which by no uncertain terms is

best experienced live in a shared space.

Such a singular approach to music creation has attracted the attention of some of the

worlds most adventurous musicians sometimes resulting in serendipitous collaborations

with the likes of; Lou Reed, Yamatsuka Eye (Boredoms), Dave Grohl (Nirvana), Flaming Lips

(Peel Session), Trey Spruance (Mr Bungle), Deerhoof, Merzbow, Chris Abrahams, Oren

Ambarchi, Senyawa, Death Grips etc.