Simon Crab from Bourbonese Qualk with a solo CD with new material!
label info:
Exclusive to Fathom, ‘After America’ is the first solo album by Simon Crab – most well known as the founder and front-man of the group Bourbonese Qualk (1979-2003). The album contains 20 new tracks recorded from 2010-2014 at various locations in the UK and featuring contributions from Geoff Leigh (Henry Cow) and Dave Smith (Guapo)
TEMPORARY LOW PRICE!
A new full length CD album by Noirodyn, aka Vile Enginez.
Fernando Narvàez Perez has so far mainly made his mark under his Vile Enginez monicker with a debut on Zhark International from 2004 and several releases on the Praxis sublabel Sub/Version, both on vinyl and digital. The project mutated into Noirodyn with a first digital-only release for Praxis in 2013 titled Infradesigns. Immediately it was evident that Fernando was applying his production skills to a more varied sound but regularly returning to slamming beats and far-out noise constructions making Noirodyn the logical continuation and development of Vile Enginez.
Construct Deconstruct contains 16 new tracks ranging from slower grooves to hectic intensifications arranged into a continuous mix, showing his creative energies at a peak.
Coverart by Sansculotte.
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Munma aka Jawad Nawfal is one of the most prolific electronica artists in Lebanon, he undertook audiovisual and film studies at IESAV in Beirut and chose to specialize in sound design. In 2001, Jawad formed Altered Ear, a laboratory of sound research and composition, based on the need to explore and link several means of computer assisted musical writing. He has collaborated with artist such as El Rass, Liliane Chlela (in Infinite Moment Of Composure) and C-drík (in Tasjiil Moujahed), his new album also features RadioKVM, El Rass and one remix by C-drík. Limited edition of 250 hand numbered copies.
Label info: A hidden treasure no more: Monolog propels himself to the forefront of cutting edge drum'n'bass and electronica with this amazingly intense album. A lesson in music production and an impressive display of controlled madness, “2 Dots Left” is a tour de force made of deep basses, very percussive beats and high tempos. Monolog manages to makes his what most people could only experiment with and comes up with something which, while overwhelming at first, proves to be extremely absorbing and rewarding.
Full length album by Ann'so and Saoulaterre in Bruits de Fond, recorded 1999/2000 and released in 2001. Electronic beats and instruments by Saoulaterre, lyrics, vocals and piano by Ann'so, making it an original and unusual album.
Excellent compilation from YB-70 to celebrate the 12th anniversary of the Parazit/Seppuku parties... with some of the regulars like 10 Onnance , Somatic Responses, La Peste, Element Abuse, Matt Fraktion, Iszoloscope, Sobchak, Ingler, Subskan, Zotz, Elektroplasma, Ripit, Kirdek , Imminent..... We've had the 2x12" in our shop for a long time, but for some reason not the CD. Here it is!
from driven ambient to minimal techno or breakbeat. a imaginary soundtrack with sweet female vocals and realistic soundrecordings taken from the streets of mexico city and new york. starfish pool’s new release proves to be something of its own kind full of enjoyable and intelligent music. complex and soulful, this changing mood style can take our feelings and mind into sad, joyfull or dark atmospheres. with a general urban feeling worked out in an intelligent way. the final step so far of starfish pool’s work and something which fits well with the very high quality of the hymen releases. (label info)
Neutral: Motion of
since her entry into this crazy world in 1974, neutral’s nicole elmer has seen the bulk of human existence in an intense light. anyone familiar with her well-received 1999 debut as neutral, font translation errors, knows this straightaway-as will those who subsequently came across her compilation appearances for component and n5md, or her successful 7-inch on mike “µ-ziq” paradinas’ planet-µ imprint as well as the driving backwards ep for mad monkey/hymen in 2001. but as her new neutral album, motion of, suggests, that intensity is more than just ferocious post-industrial angst and gale-force lyrics. there’s a subtlety to nicole’s creative vision that is just now manifesting itself in her music. “this record became more about simplicity. i don’t think in the end that it sounds very simple, but compared to font translation errors, it is,” says nicole of her new album, which in comparison to her releases over the last three years takes on a strikingly visual, almost cinematic quality throughout its ten tracks. and rightly so. nicole has returned to painting as a means of rendering her vision, and like her painting, motion of is bold, fleshy abstract lines of vibrant color bleeding into sound shadows, where the dark demons on malevolent creativity thrive in the at-times stark contrast. where her media includes everything from canvas to cardboard box tops to massive spans of plywood, nicole’s stylistic range on motion of veers to the suppleness of ambient piano and those classic lush synths on “…” and “desire of,” as well as the scorn-like industrial down tempo grit groove of “180.” likewise, nicole’s experiences traveling through europe have morphed her views on creative methods as well-streamlined the process by removing more of the software artifice. it’s not hard to see how her increased use of traditional instruments is tied, however tenuously, to her having spent a summer in the czech republic-the quaint guitar riffs and accented bass strumming on the moody “4 minutes” as harkening to her enjoyment of local street performers in prague and other places. that like her picturesque walk along the cinque terre this last summer, the twangy “bird in the air” balances between the lush, organic wildlife of guitar, flute, and wispy vocals...and the craggy, angular electro cliffs of rigid downtempo loops and gentle swells of dsp noise crashing far below. “i was challenged by the idea of including vocals, something that had always daunted me quite a bit in the past,” she notes. “i was enamored of trying it out because contemporary electronic music composers tended to shy away from using their own voices in their works. but a lot of my idols from the 80’s and early 90’s had used their voices or were part of a band and had a vocalist, as opposed to using a menagerie of guest vocalists. putting my voice into the mix was a real different but in some ways, nostalgic thing to do.” hymen considers motion of to be a very important step in nicole’s evolution, and thus established a collaboration with texas-based mad monkey records in an effort to make nicole’s intense amalgam of industrial passion, classic electronic sounds, and anti-folk emotional rawness more readily accessible to her growing worldwide fan base. nicole’s creative vision has reached a new plateau on motion of.
