cd; gatefold; joint release with dualplover; 2009
键盘，鼓，玻璃。由澳大利亚噪音奇人卢卡斯·阿贝拉创建。他的另一个名字是 Justice Yeldham。一个充满激情的人。实验音乐和噪音界无人不知他的碎玻璃乐器。
glass, pedals: Lucas Abela (aka Justice Yeldham); keyboard: Li Zenghui; drums: Li Yangyang
keyboard, drums and glass. a trio founded by Australian noise marvel Lucas Abela (aka Justice Yeldham). everybody in experimental/noise scene knows his passionate smashing glass.
the other two are best choice from China’s underground. by their madness inseed of skill.
设计 | design：Lucas Abela + 阮千瑞 | Ruan Qianrui
曲目 | track list：
1 山 6’39 | Mountain
2 印在我蛋上 13’21 | Stamp On My Balls
3 桌面蛙 6’43 | Desktop Frog
4 复活者们 10’22 | Resurrection Men
5 北京烤鸭 2’24 | Peking Duck
6 米夫人 12’07 | Mrs Rice
Australia the lucky country! What other government would send a lunatic artist known for smashing amplified glass against his face off to China to become a cultural ambassador? Well it happened to Lucas Abela (Justice Yeldham) and this album, Mrs Rice is the result. With under two months in Beijing he formed the pick up band Rice屎Corpse, (named after the Chinese character for shit, 屎 which itself is the combination of two characters “尸” corpse and “米” rice), jammed with them four times (two off which were recorded for this album) before heading off for a ten city tour of China.
A Trio of glass, drums and piano was in Lucas’s minds ear when he arrived and two completely different musicians came forward to form this unlikely band. First to be recruited for drums was Yang Yang whose antics in his own band Mafeisan has given him the reputation of being the craziest exponent of the conservative Beijing scene. His ultra loud out and proud personality is in stark contrast to the mild mannered and brutally shy saxophonist Li Zenghui who came to the project as pianist, cause simply put there were no suitable pianists in the city.
Existing for a limited time and without a common language to interrupt they managed to create these six varied and strangely focused improvisations. This despondent attempt at musicality is by far Abela’s most accessible work to date as the addition of Yang and Li’s rhythm section forced the seasoned glass man to take the instrument in surprising new directions.