Simon Crab 2018. Press

Links to some of the most recent press articles and album reviews.

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'Simon Crab 'Demand Full Automation' LP Review'
By Anthony D'Amico. Brainwashed Magazine 2018
"Three years after his eclectic and excellent solo debut, Bourbonese Qualk founder Simon Crab is back, albeit in radically transformed fashion. Crab's eclecticism certainly remains intact, yet Demand Full Automation is a bit of a tough album to wrap my head around: it kind of sounds like Crab started composing a similarly fine follow-up, then got commissioned to soundtrack some kind of neon-lit impressionist urban noir film…then took a break and time-traveled back to the '90s to do a DJ set at the Haçienda. Unsurprisingly, those disparate threads make very strange bedfellows indeed, yet the enigmatic logic of Crab's overarching vision is countered by some sizable leaps forward in his craftsmanship. While I admittedly miss the homespun charm of After America a lot, Demand Full Automation is quite a likable (if sometimes quizzical) album in its own right, as it is a considerably tighter, more beat-driven, and more hook-filled affair than its predecessor.."

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'The art of the anti-Capitalist businessman'
Perfect Sound Forever Magazine. Ibrahim Khider 2018
"Simon Crab dwells in paradoxes. For instance, he is an honest-to-goodness, practising anarchist, yet also a leader--though not always by choice. He is anti-capitalist, yet can play the business game better than most. Crab is actively against material acquisition, yet is behind the reissues of sought-after after box sets of the back catalogue of his band, Bourbonese Qualk, whom he dismisses collectors of as a "male cult of obscurity." Fellow band members deride Crab for his "pissy intransigence," a charge that Crab does not deny, yet is near-paralyzed with indecisiveness as a solo artist. Simon Crab is also very much an aspiring idealist and humane being, even if he has to beat up a few cops and skinheads along the way. This is without even getting into the how he spiked Margaret Thatcher's champagne with LSD, but that is another story."

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The Quietus Interviews:'Keep Pushing: An Interview with Simon Crab Of Bourbonese Qualk'
The Quietus. Joseph Charms , October 31st, 2017 12:53
"Ahead of his performance headlining The Monastery of Sound at Salford’s The White Hotel on November 4, Joseph Charms talks to Simon Crab about his solo career, former band Bourbonese Qualk, and cultural resistance"

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'Interview with Simon Crab of Bourbonese Qualk '
Chain D.L.K Matteo Uggeri 2017
"I’ve been listening to so-called ‘industrial music’ since I was 20, therefore, being over 40, I must admit that I’ve lost the very first mystical era, as I was too young to be there at concerts. But I’ve dug a lot into hundreds of records from noise, extreme and – well – industrial sounds that have shaken my ears and nerves, mostly from the ‘80s..."

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Simon Crab, "After America"
Brainwashed Magazine USA. Anthony D'Amico March 2015
"Simon Crab was one of the founding members of Bourbonese Qualk, who were easily one of the most strange and compelling bands to emerge from the ‘80s underground. They were also sometimes one of the best, but they never quite achieved the stature in the post-industrial canon that they deserved. A good part of that is probably due to their constantly shifting and eclectic style, though they seemed to perfect their singular mélange of electronic music, mutant funk, gamelan, and experimentalism by 2001's On Uncertainty (their final album). With After America, Crab essentially picks up right where his band left off (though sans funk), offering up a distinctively kaleidoscopic and uncategorizable fantasia on the evergreen theme of America's decline."

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Simon Crab. Live, Barceló Theater, Madrid. October 11th 2017
Live review. Sebensuí A. Sánchez. Madafackismo Underground, Spain 2017
El siguiente concierto al que asistimos fue el del músico inglés Simon Crab, ex componente de la banda punk experimental Bourbonese Qualk de 1979, su puesta en escena hacía que le acompañase una batería, a la vez que él trataba una guitarra y manipulaba la electrónica, este concierto también fue en formato A.V. y se podían ver unas imágenes de la bandera de Inglaterra distorsionada, llevando una camisa de Antifaschistische Aktion, muy acorde a los tiempos que corren en España. La músico que le acompañaba también se levantó a recitar en algún extraño idioma del Este con voz como de megafonía que cambiaba de real a irreal, la música como pequeños collages diminutos era inclasificable, en los espejos laterales del Teatro Barceló se podía ver reflejado el humo de la sala, lo que le daba un aspecto aún más misterioso a la música, habían partes más accesibles en la música de Crab, incluso llegando al dance, en un concierto que tuvo 3 o 4 bloques de diferentes estilos de música con un trasfondo siempre percusivo gracias a la batería y a los beats electrónicos mas unas guitarras landscape frippertrónicas.

The next concert we attended was that of the English musician Simon Crab, former member of the experimental punk band Bourbonese Qualk of 1979, he was accompanied onstage by a drummer (Diana Combo) while he played treated guitar and manipulated electronics. This show was also in Audio Visual format some of which used a distorted images of the English flag – this combined with Simon's Antifaschistische Aktion T-Shirt was very in keeping with the current situation in Spain. At one point the drummer stood up to recite lyrics in a strange Eastern language in a megaphone-like voice, the music, impossible to classify became a collection of small, microscopic collages shifting from real to unreal, the mysterious atmosphere amplified by smoke reflected in the mirrors of the Barceló Theater. Overall there were 3 or 4 types of different musical styles, sometime approachable and even danceable, sometimes 'frippertronic' guitar landscapes but always with electronic and percussive rhythms.

Simon Crab. After America LP
Periodic Sound Journal. USA 2016
Simon Crab has been making music since the late seventies and he is the founder of the experimental band Bourbonese Qualk, which was dismantle in 2002 when the band's guitarist died. Crab is now a member of Sunseastar, a musique concrete band, as well as the London's Gamelan orchestra. The music he creates is the outcome of his experience: After America is dense, rich in tones and superbly produced. The album is reminiscent of Bourbonese Qualk discography, being eclectic and mastered at the same time, something not a lot of people can accomplish. Simon Crab learned traditional African and Middle Eastern music and it shows: you can clearly hear that he's a knowledgeable musician, the rhythms on the album are skillfully carried out, be it live played or electronic. Crab also has the ability to fuse the acoustic with the electronic in a very natural way. Everything fits very well together

On this first solo effort, Crab mixes traditional tribal percussion with deep electronic tones (using SuperCollider among other tools) and sound collage with thick layers of acoustic and electronic rhythms. The result is exciting to say the least, and the sonic landscapes on the album have a truly immersive effect because of the quality of the recording. Some of the tracks are definitely beat oriented while others are ambient and sometimes even melodic! My favorite track being a melodic almost idm affair: “For Jian-an” could have been written by Aphex Twin or Multiplex (Christian Dormon and Roland Dormon). While he juggles with multiple genre of music of various origins (occidental electronic music, traditional African rhythms, Indonesian gamelan ensemble music), every track is well executed. Various genre also means various instruments, mixed with electronic music, we can hear guitar, clarinet, acoustic drums, synthesizers, congas, bongos, accordion, flute and more.

While I've never heard of Simon Crab before, I was pleasantly surprise by the quality of this album. Overall, this is an excellent release beautifully produced by Simon Crab himself. Standout tracks: For Jian-an, Kropotkin, Cobra Mist