What's been described as ‘a trumpet player trapped in a two dimensional universe’ is in fact the utterly unique music of Lucas Abela aka Justice Yeldham, a maverick improviser who performs on shards of broken glass. Since its invention in 2003, the glass has evolved from a means to create free-noise cacophonies into a rudimentary instrument that produces an organic form of outsider electronica. Due to the volatility of the material combined with the ecstatic nature of early performances (that tended to end in bloodshed) the instrument has been somewhat maligned as a shtick by some who wrongly assumed the show is merely screaming into glass. These assumptions couldn’t be further from the truth, as in fact as an instrument the glass is incredibly versatile and acoustically most of the vocal techniques employed are barely audible. Behind the amplified din, closer observation reveals the shards are played somewhat like a bellow-less saxophone, vibrating lips subtly transmitting micro-sonic vibrations into the pane. This single source of audio then feeds into an array of parallel effects chains giving the music an illusion of ghostly accompaniment (often wrongly ascribed to backing tapes / looping pedals). Once amplified they come together to form dense layers of anomalous music which David Rees described in The New York Times as sounding like "John Coltrane playing a volcano".