Program

Jaruzelski

'...die wollen nur spielen...'

Der Präsident - drums

Dr. Borg - git.

Christoph Clöser - sax

Harald *Sack' Ziegler - frenchhorn

Achim Tang - double bass

Bodo Schürgers - electronics

Keine andere Band in Köln arbeitet so lange an ihrem Debüt-Album wie 'Jaruzelski'.
Seit zwanzig Jahren gibt es sie schon. Man hat Besetzungen ausprobiert. Aber man ist noch nicht soweit. Sagen sie. Alle anderen sagen: Doch, längst ! Denn der Kern von Jaruzelski, Dr. Borg an der Gitarre und Der Präsident am Schlagzeug, versteht sich blind - in dem höchst eigenwilligen Free Flow irgendwo zwischen Rock ohne Riffs, Free Jazz oder Jazz. Nächstes Jahr soll es das Album geben.

No band in Cologne has been working on their debut album longer than 'Jaruzelski'.
All in all, the band have been in existence for a full twenty years. They have tried various line-ups. But they are still not ready. At least, thatZs what they are saying. Everyone else is telling them: Yes, you are!

The Professional Savage (ClickJaw)

Greetings

My name is ClickJaw.
I perform as The Professional Savage.

I do an AV show with hiphop/breakcore music.
My show explores whiteness, media representation of indigenous peoples and the body as an exoticized object. The performance has the audience become the spectacle. The show is a declaration of war by the Fourth World.

I am also a performing member of Curse ov Dialect

http://clickjaw.com/the-professional-savage/

Testomonials.

"There had been a lot of hubbub leading up to Australian sound (and glass!) artist Justice Yeldham's show at Happy last Thursday. People who saw him play here in 2007 were dying to see him again, and those that had missed him that first time around wanted to see what all the fuss was about. When Justice Yeldham set up on stage. I was tempted to stand right at the front like I usually would, but I remembered that the last time I saw him play, the odd shard of glass went flying, so I stood around the side of the stage where still had full view. Hey, sometimes you need to consider safety, even with pop music. Yeldham was excellent. He had a large, thick pane of glass that was connected to oscillators and distortion pedals connected to a toolbelt he was wearing. He spat beer onto and sucked and blew on the glass with his mouth which created brilliant streams of noise. I once saw some video footage where he played a piercing wee number and at the end deadpans, "That's my cover of 'Funky Town'. I called out, "Play 'Funky Town!'" But he called back, "Aw, I can't do 'Funky Town' people always make fun of me when I do that!" He clearly relishes the whole performance aspect of his routine because not only does he throw his whole physicality into it, he also does it barefoot, which seems like quite a pointed and conscious decision to make, what with all the resulting broken glass. By the end of his fearless and fierce set, his sheet of glass was reduced to a small shard which he smashed over his head. It left me feeling exhilarated and slightly breathless. I liked his wolf t-shirt, too."

Kiran for texture on 475 Wellington 050209

"...but then the anomaly that is Justice Yeldham is preparing to shock and awe. How to describe the music of a man, armed with a belt of oscillators and distortion pedals hooked up to a pane of amplified glass onto which he screams, hollers and blows and bellows until he's left with nothing but shards of glass nestled between his teeth? Demented? Certainly! Entertaining? Absolutely - as long as you're not squeamish."

Rock A Rolla magazine on Supersonic Festival, 434 Birmingham 120708

"Next up, I squeezed into the packed Factory Club to catch Justice Yeldham. It's hard to describe this guy. Well, it's not - what's hard is trying to explain why a man shouting and screaming into a piece of glass (hooked up to a belt of effects modules) is so compelling. The show ended after 15 wide-eyed, slack-jawed minutes the pane had been smashed and bitten into too small a piece to continue. Extraordinary."

culturedeluxe on Supersonic Festival, 434 Birmingham 120708

"while the insane JUSTICE YELDHAM delivers a short set-piece of noise via his only instrument, a plate of glass which he bites, rubs and smashes over his head, deranged."

Kerrang on Supersonic Festival, 434 Birmingham 120708

"Yeldham's live performance consists of grinding his face into a sheet of mic'd up plate glass. It is hideous for a variety of reasons. One is that the transparency of the glass means you get to view his face all squished up against the other side of the glass like a kid on a special bus wiping his nose down the window as you overtake them on the motorway. Another reason is the sound really is quite nasty. The resonant properties of the glass means as he yells onto/into it and then pulls and squeezes at the sheet, the pitch of his voice wildly varies and wavers and this in turn is run through some truly ugly processing that makes it sound like a Dalek in it's death throes."

-Chris Summerlin on 151105 nottingham

"Blood. Noise. Broken Glass. KY Jelly. DJ Smallcock [justice yeldham] is once seen, neverforgotten. Working at the bleeding edge of performance art and noise terror mentalism with adash of carny showboating, he screams and hyperventilates into contact microphones while his laptop morphs the nightmarish results into inhuman ring-modulated torture. This is a perfectly formed miniature that says a great deal about the principles of performance, entertainment and the wisdom of standing at the back."

-venue magazine on 081105 bristol.

"After this, anybody would have been an anti-climax, but from the moment the next act stood centre-stage and squeezed an entire tube of KY Jelly into his mouth, I sort of knew something interesting was going to happen. Smashing his face into a peice of contact mic-ed glass, making the grotesquest of faces resulting in some exquisitely distorted sonics... This was Justice Yeldham and the Dynamic Ribbon Device. Really compelling stuff alone, but when he broke of a corner of the glass with his own teeth (with a horrible crunching sound) then dragged it across the remaining pane in a blood drenched scrape the performance entered a new realm of extreme. The squeamish (amongst us, me included!) winced. Later the glass fragmented further cutting into his neck causing blood to squirt out I really thought it was hospital time! However he seemed to avoid any fatal injuries. Blood and jelly combined and smeared across the smooth surface as the most gorgeously biological sounds were produced in great whirls of feedback. A real show stealer for definite, apparently he covered some of his merchandise in the evening's blood - I bet fans were hesitant about a signature, especially if a pen wasn't to hand!"

-rotten meats on 081105 bristol.

"A writhing, contorting, nauseating, sensational screamingfuckingbloodymess, the 33-year-old Australian glassjaw who performs as Justice Yeldham And The Dynamic Ribbon Device has a show so visceral, so alive, that it can move a room full of the most jaded noisenrrds to gaping-mouthed wonderment. The pock-marked bloke born Lucas Abela, mischievously takes the stage of Denver avant-loft/noisenik playhouse Monkey Mania wearing a belt surrounded by distortion pedals and a single contact mic limply dangling from a wire. He squeezes a tube of KY Jelly all over his weathered mug and into his mouth. He clicks on the pedals and presses he face to a triangle of glass. Hideous black garglescuzz pours out of the speaker, each yelp, hum and fart matching his face's disgusting rubbery contortions. The sounds are inhuman, but their patterns are most definitely familiar, a hyper-distorted screech-tantrum howling in bone-rattling harmonies, all set to the bittersweet aroma of warm lube. He leaps into the crowd, face twisted into apoplectic distortions, and begins seizuring. And here is where everyone starts flipping the fuck out. Abela gnaws on the glass like a lion gutting an antelope. Each sickly crack jettisons through the distortion pedals, blorts out the amp and is followed by the screams of shock, fear, joy and various combinations of the three. The glass comes smashing down on his face. He waits, panting, for the cheers and screams to die down. His cheek is oozing blood from a sharp red line. His earlobe is sliced open and spitting a steady stream down his neck onto his KY-soaked shirt."

-christopher r. weingarten on 030405 denver

"It was louder than anything that had preceded it, and it had an organic quality that demanded my attention - so I took a look. The Australian stood in the middle of a semi-circle of onlookers, the DJ and a hospita lgurney behind him. He wore a belt of effects peddles about his waste which were wired to a contact microphone affixed to a three foot long triangular piece of plate glass that was balanced on one shoulder and pressed wickedly against his face with both hands. It was like some perverse facial ham press. He blew into the glass like a trumpet player trapped in a two dimensional universe, sliding the glass back and forth across his face to change the pitch, vibrating and adjusting pressure to alter the tambour. The sound was a combination of the vibrations created by his manipulations and the feedback from the amplification, and he truly played it like an instrument. In totality, it was kind of like a cross between a dental vacuum and a jet engine - two of my favorite sounds. The first cuts I noticed were on his shoulder where hewas supporting most of the weight of the glass. His tee shirt had been sliced in two or three places, and a little bit of blood was starting to show. It was evident that this was going to be more than anyone had expected, and to drive that point home, he stuck the narrow end of the triangle as far into his mouth as he could fit it - and bit down. Breathing through barred, clenched teeth, a whole new sound appeared and then the glass gave way, shattering in his mouth. Quickly spitting out what he could, the larger, unbroken section of glass was again up against his face - smaller now, higher in pitch and somehow more urgent. His mouth was bleeding, and the distorted image of his face took on a new aspect of horror as the blood formed an organic liquid gasket between man and instrument. The intensity of the noise had not let up one bit, and with a few quick twists of the knobs on his belt any sense of waning was replaced by a new level of sound and violence. He bit the glass again, removing another big chunk, and then returned to the "first position," now with a piece of glass less than half it's original size. Again, the sound advanced to a new intensity, and at this point his entire face was red with blood that was mixing with his saliva and mucus to drip in tendrils from his hands, chin, and of course the glass. By this point, he was completely unable to stand still. The focus and control of is initial stance was replaced by a twisting, stomping, arching tangle of odd dance moves clearly inspired by the drive to continue the performance to it's conclusion. The final moments of the performance are hard to describe - suffice it to say that there was no piece of glass remaining that was larger that two inches in size. I was definitely left with an awareness that I had seen something that was totally for real - and I know that I've been a better person for it in the three days since."

-micheal SMITH on los angeles 050305

"Justice Yeldham and the Dynamic Ribbon device (aka Dual Plover label head Lucas Abela) unleashes perhaps the day's most out-and-out scary performance, and one that makes Slipknot look like Simon and Garfunkel, a series of contact mics placed around a sheet of perspex [glass actually] that he repeatedly headbutts, massive pounds thudding through the speaker system"

inthemix, on BIG DAY OUT ear stage 260105

"Justice Yeldham and the Dynamic Ribbon Device is Smallcock in disguise performing the now world famous bare foot bloody sheet glass smash noise making. What can I say, Justice arrives on stage complete with war wounds from recent touring and just gets into it. As I have said before some nice noise comes out of this glass and the riffs he gets into towards the end is my fave bit, with a beat there could be some nice dancing going on. At end the remaining glass was smashed over the head and he walked off back stage knocking a few people over as he went, definitely looked to be in another world. Seems to be a very entrancing hobby."

adam at australian music info, on Sydney 050904

"A barefoot Australian in faded jeans and a beer shirt was strapping on a belt of electronic devices. Two wires led from the belt. One was attached to a large set of speakers and the other was attached to a jagged piece of glass. This was Justice Yeldham and the Dynamic Ribbon Device. The sound man turned on the power and the whole contraption started to hum ominously. Meanwhile our shoeless bloke was squeezing half a tube of KY jelly onto his face and into his mouth. The live music performance was about to begin. He played the device by rubbing his face up against the glass. The sound traveled down the wire and into a set of amplifiers and distortion boxes attached to his waist. This distressing music then came squealing out of the speakers at incredible decibels, instantly deafening all other sounds. Eyes widened in uncertainty and hands covered ears but he played on. He played with agonizing passion, sliding his face against the glass while flecks of KY jelly flew in all directions. The front row of spectators inched backwards out of spray range and some fled altogether. I was transfixed. As he glided his cheek across the glass he played with the switches on his belt. The squealing noise varied in pitch but never in intensity. It was like electrified teeth rubbing on a blackboard. It was like uncontrolled guitar feedback played backwards. It shouted of sorrow. It screamed of pain. It was art. Five minutes into the performance and his mouth was cut by the glass as he played the edge. Blood mixed with KY jelly in a red smear. More spectators fled. The sound continued to attack us in volleys of crazed noise until the final spike as he smashed the pane of glass. Then it was over. I didn't know whether to clap, laugh or pray."

-Ravi Jeyachandran on 040604 beirut.

"PEELED HEARTS PASTE [justice yeldham] brought out a 3'x3' sheet of glass and some substance, covered his head and fucking went NUTS, screaming/ flapping/ cutting with the glass. after a few insane and gross minutes he broke the glass over his head and used a large shard as his instrument, smearing blood and goop all over the glass with his face disgustingly smashed against it. did i mention he was barefoot the whole time? fucking insane. glass all over the basement at this point.. someone yelled "SUICIDE!" and it almost happened."

-greh on 061203 ann arbour..

"DJ SMALLCOCK [justice yeldham]: This guy runs a pressing plant out of Australia called Dual Plover - the cheapest place to get your CD printed in the entire world. Also a noise label. So I had taken him outside earlier because I figured, he's like ten thousand miles from home and would probably really like to get high. I'm asking him about his tour and I'm noticing that there's something wrong with his face - dried blood on the end of his nose and assorted scabs everywhere, and I really want to ask him but I don't. I mean, what am going to say? So he sets up barefoot: a contact mic run through three octave pedals, an EQ, and something that looked homemade; the contact mic was stuck to a piece of glass and the piece of glass was stuck to his face. He hummed and vibrated the glass and the sound that came out was jarring - how it could be that rhythmic and rich in that limited source was impressive on its own. He ended his set by smashing the glass with his face, blood running down his forehead, slivers sparkling on the stage. Totally fucking amazing. I walked up to him after and brayed, "So that's what happened to your face!"

-donna parker on 091003 boston

Lucas Abela By Bruce Russell

B r e a k i n g g l a s s

For Lucas Abela, physical performance and sound work are one. "Physicality is essential to me," he declares. "The origins of my sounds come from inside me." As a result, the Sydney sound artist is the most exciting performer I have seen in the last three years - in fact, since I first saw Iggy Pop. While physicality bordering on Aktionism is an established element of `Noise performance', Abela has come closer than most to actually inventing a total body artform.

He began in the early 1990s as a turntablist on Sydney community radio, abusing records to make the graveyard shift "go faster". His quest for an enhanced relationship to time has led through early works with an electroacoustic Kombi van and amplified metal to his now well-established method of vibrating large shards of contact miked glass with his voice. To him, these practices are all of a piece. "As much as I've gone beyond traditional turntable playing," he says, "the glass is in essence a giant diamond-tipped stylus that I vibrate with my mouth rather than a record groove." And this idea of glass as a giant acoustic diaphragm is what lends his performances their interwoven air of excitement, danger and uniquely human vocalisation through noise.

Abela's career was kickstarted in 1993 when the co-curators of Australia's famed What Is Music? festival stumbled on his radio show and invited him to perform live for the first time. Immediately he had discovered his true medium - performance - although he did not begin to work with glass until 2003. The sound-transmitting capabilities of glass make it the ideal medium to which contact mics can be attached; Lucas in turn vocalises into it, transferring the sound directly by pressing his face against the sheet, like a lunatic striving to escape the back of the asylum bus. Sometimes, of course, he does break on through.

Watching Abela perform is like watching Harold Lloyd hang from the hands of a clock five storeys up. Part of you wants him to fall off, while the rest of you wants the apparently abandoned but in reality precisely controlled performance to go on all night. He himself has found that the energy required to do what he does comes from his audience. He rarely records

or rehearses; instead, as he puts it, "I harness the presence of the crowd in the form of anxiety, an emotion that helps me achieve an outside state of being, which I think is why the cuts I endure during the show never bother me, as I get so highly strung I simply don't notice." And in a relationship of symbiotic emotional feedback between performer and audience, he finds that the use of the glass heightened this emotional charge because it "introduced a new element to [the] music - a collectively induced fear and anxiety in the audience that heightened the emotional experience".

His sound is an intriguing combination of voice and analogue electronics, in which the paradoxically limited means - the creative constraint - become a way to enhanced freedom of expression. "I like it that my instrument has limitations," says Abela. "And to create a diverse array of sounds I must forcibly wrangle the material to do what I need from it. Each sound I create takes skill and precision, and most of all it's hard to do. [While a] computer could turn the glass into limitless audio phonic potentials, more choice was not what I needed. To learn to play the glass more effectively, I couldn't let the sheet become a mere trigger - its potential was far higher than that."

Not surprisingly, some cloth-eared witnesses to his performances have misinterpreted his practice as a kind of freakshow without content', and suggested he needs a newschtick'. "[It's] like telling Cecil Taylor he's not welcome back unless he gets over playing the piano," scoffs Abela. The comparison is surprisingly apt: while Taylor reinvented piano playing by his singleminded devotion to pounding the keys, Abela has reinvented vocalising in a similarly singleminded yet deceptively difficult manner.

Looking for a way to re-present his glass work in a forum that would foreground its musical virtuosity, he hit on the idea of scoring an artistic residency in mainland China - a country he had visited twice before. This was arranged through Asialink, an Australian initiative that, among other things, arranges for artists to tour Asian countries. Motivated by "an intense desire to move the instrument forward

and [the] thought that incorporating it into an ensemble would be the most logical way of doing this", Abela's idea was to recruit a drummer and pianist in Beijing to record and perform a series of dates as Rice Corpse (named for the two-part Chinese ideogram for shit). The choice of instrumentation was dictated by the capabilities of his instrument. "I wanted to form a trio with drums and piano forming a rhythm section to my glass lead," he explains, "as I felt the timbre of these instruments would be the most complementary to the tones I had so far evolved in the glass." First he found drummer Yang Yang from Beijing Noise punk group Mafeisan, but experimental pianists are clearly at a premium in Beijing, and in the end he settled on a saxophonist called Li Zenghui, who took up the unfamiliar instrument with a will.

Improvising for the first time in an ensemble, Abela found that the energy charge usually forthcoming from the audience could be generated within the group themselves. "After 15 years of playing solo," he says, "it was an epiphany [that] also forced my playing to take on new roles and directions." Lucas regrets that logistical considerations make it unlikely that his Chinese collaborators will be able to tour Australia any time soon. Regardless, he is determined to take this new direction forward by forming an Australian version of Rice Corpse, featuring Stu Olsen on piano (Garbage And The Flowers) and drummer Peter Kostic (Regurgitator). They plan to tour all the outlying islands of Australia, with dates in Tasmania and New Zealand.

Meanwhile, the tireless Abela, who also curates the Dual Plover label and co-directs the worldwide CD and DVD replication agency which underpins his imprint's existence, has already undertaken a European tour as part of Kevin Blechdom's Noise/vaudeville multimedia show Slaughterin' Slobberville. Abela, who is the most affable and well-adjusted person you could hope to meet, was playing a role he describes as "somewhere between being a master pig fucker and enjoying fruit". I didn't follow up that particular line of enquiry because I really couldn't think of a supplementary question that I actually wanted to ask.

Rice$BU}(BCorpse : Mrs Rice (2009) CD
What kind of government would send a lunatic artist, whose idea of self expression is smashing amplified glass against his face, off to China to become a cultural ambassador? Australia the lucky country of coarse! And that's' exactly what happened to Lucas Abela (Justice Yeldham) and this album, Mrs Rice is it's result. With under two months in Beijing he formed the pick up band Rice$BU}(BCorpse, (named after the Chinese character for shit, $BU}(B which itself is the combination of two characters ''$BUy(B'' corpse and ''$BJF(B'' 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 normally 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 stabbing rhythm section forced the seasoned noisician to take his glass instrument into surprising new directions. Released on conjunction with SUBJAM and made possible with the kind assistance of Asialink and the Australia Council for the Arts.

Samples of Rice Corpse

http://freemusicarchive.org/music/RiceCorpse/
http://www.youtube.com/watch?v=7peCwr7lP2w

Reviews of Rice Corpse

Rice Corpse Review in Sound Projector
Australian Lucas Abela is a larger-than-life performer and entrepreneur who has gained notoriety over the years for his uncomfortable live shows and the ultra-bizarre record label which he runs. Performing under his Justice Yeldham alias in the group Rice Corpse, he improvises on the new CD Mrs Rice (DUAL PLOVER 666) by playing amplified sheets of glass, probably using his mouth and his hands in alarming and unexpected ways, alongside an impromptu rhythm section he happened to pick up in China during a recent tour in that country. What a musical find that turned out to be. Pianist Li Zenghui bashes the keys to generate a demented misinterpretation of the records of Cecil Taylor, or John Cale's piano work on the first Velvets LP, while drummer Yang Yang from local band Mafeisan shows us exactly why he's earned his reputation as the ''craziest exponent'' of percussion in the Beijing area. A thrilling record results. With this added accompaniment, I feel that Abela's inchoate and formless noise has finally found a framework that gives it some real body and resonant presence, increasing its impact one-hundredfold. Needless to say with all that glass around, the sense of implied violence and bloodshed is never far away. - Ed Pinsent, the sound projector.
http://www.thesoundprojector.com/2009/05

Rice Corpse - Mrs Rice (Dual Plover) Review in Cyclic Defrost

Just when you thought that all trios of improvising musicians were just pretentious excuses to plink plonk and masturbate their way through the pretense that somehow the discordant mess they produce is actually a meaningful new direction in modern music for people who haven't been schooled for 5+ years in modern composition and learned to hate music, along comes Rice Corpse.

It's the work of Sydney based lunatic glass blower and noise extraordinare Lucas Abela, who if the press release is to be believed briefly became a cultural ambassador to China, spending two months in Beijing found pianist Li Zenghui (who is actually a saxophonist) and percussionist Yang Yang, jammed with them a few times and then dragged them into the studio for this monstrosity. It's the funniest most visceral and compelling music this writer has heard for a very long time. At times Abela feels like he's sabotaging the aforementioned plink plonk, tearing it apart with his aggressive howls, other times he sounds like some kind of wounded inhuman animal growling irritably whilst the piano and percussion rain down around him, then there's the moment where it all coalesces into the adolescent noise frenzy that is spirited and unrelenting, a charging jam that you could only imagine as the sound of the apocalypse. Perhaps what I find most fascinating about Rice Corpse is how the trio don't sound tied down to any particular form of improvisation as is so commonly the case. This may be because Abela's contact mic'd glass through distortion pedals produces such a unique, and I would imagine quite difficult to play along with, sound, but really I believe it has a lot to do with the musicians desire to pull something quite unique out of the box. At times it's quite musical, even positively melodic, at other times the humour comes from the ludicrous ill fitting nature of this trio, yet then it all becomes quite hysterical, pushing you to face head on, the joy, freedom and possibilities of experimental music - rubbing your face in it over and over again, until you just want to be left alone. Genius.
Bob Baker Fish
http://www.cyclicdefrost.com/blog/?p=3238

For a lot of noise musicians, showmanship is often limited to a mild flailing of the body while they hover over an array of equipment and leads. Sydney's Lucas Abela opts instead for cutting his face to pieces with treated plate glass - breathing, sighing and yelling into the mic'ed up glass until it breaks into shards, often taking portions of his face with it. Under the name Justice Yeldham, Abela has brutalised a few households worth of window pane for years now, but his recorded material has rarely excited attention among the uninitiated masses, who generally appreciate the spectacle first and the sonics second, if at all.

Rice$BU}(BCorpse is Abela's improvised collaboration with two Chinese artists - Yang Yang of Mafeisan on drums and saxophonist-cum-pianist Li Zenghui. For anyone fascinated by Abela's means but intimidated by its end, Mrs Rice is an accessible place to start. It's noise rock, and while no less compromising in execution the presence of a rhythmic and melodic backbone breathes a welcoming "rock" dynamic into Abela's mulched, overdriven glasswork. His foreign sonic vocabulary is translated here into a musical language most listeners can decipher.

When playing off the two-piece ensemble, which switches between foreboding menace and full throttle freak out, Abela's vocals are given the opportunity to display a surprising myriad of range - whether it be the eerie wavering foghorn drones halfway through Stamp on My Balls', the subtle static malfunction ofDesktop Frog', or the garish rhythmic hopscotch showcased during `Peking Duck'. Abela responds deftly to Zenghui's keys, which often heave violently out of sparse melodic noodling into hammer-happy free jazz expressiveness. Yang Yang's eagerness to give his whole kit a solid thrashing at every given opportunity means Rice$BU}(BCorpse rarely climb out of their rigid soft/loud MO, but the jarring transitions rarely prove predictable or tiring.

Which seems somewhat integral to Mrs Rice anyway. It's a joyously gratuitous album, equally hilarious and punishing, maniacal and narcoleptic. Maximum volume is recommended to appreciate the catharsis at the heart of Rice$BU}(BCorpse, especially for those likely to glaze over the more challenging aspects of the record. Don't be mislead: this is still a rough-as-guts ride, but hopefully Mrs Rice is evidence enough to sceptics that Justice Yeldham is much more than just a bloodstained showman.

by Shaun Prescott
http://www.messandnoise.com/releases/2000293