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viewing 1 To 7 of 7 items
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LP
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TRANS 004LP
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2018 release. Discos Transgénero presents the first ever compilation of How To Get Rich In Rotterdam, Oefening Kunstbaardt, and D.A.P.A. These were projects of Chris Lindquist and Paul Stoute with the collaboration of Linda Lindquist, all of whom were based in Rotterdam in the early '80s. How To Get Rich In Rotterdam was a group formed by Chris Lindquist and Paul Stoute, releasing only one self-titled seven-inch. This single was a very limited edition with two different covers. Johan Kugelberg selected HTGRIR for his Top 100 DIY Singles, describing it as "brilliant, plodding art-slop that reeks of inside jokedom. This record is a reason unto itself to pay eBay prices for vintage drum machines." Oefening Kunstbaardt and D.A.P.A. were the names of two albums that Chris created in his studio named Geluidshouwerij. The first one included the participation of Paul and the second one was done only by Chris. Following an experimental and avant-garde line, these were only released as cassettes. After restoring the sound from the original master tapes, this compilation presents these classic DIY recordings from Chris and Paul for the first time on vinyl in high quality audio. The cover design and illustrations are by René & Paul Stoute. So, come back to the beginning of the eighties, back to the so-called cassette period where people started making music recordings in their living rooms with equipment that was in reach. If you are interested in something different you should pay attention to this album with its imaginary kaleidoscope of strange, experimental, and sometimes funny tunes.
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LP
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TRANS 002LP
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2017 release. Discos Transgénero presents the first ever reissue of the Domestic Sampler UMYU, originally released in 1982. Domestic Sampler was a project that Víctor Nubla (former member of Macromassa) recorded for the record label UMYU. It features a host of artists; a synergy of the scene that was happening in Barcelona at the beginning of the eighties. El Grito Acusador, Entr'Acte, Logotipo, Klamm, Secreto Metro, Error Genético, Detra's Band 10, Boris, Mimi Pimer, and Tres reflected the new wave underground scene of Catalan groups who revolved around Víctor Nubla as the mystic center of their universe. Nevertheless, Domestic Sampler also represents a confluence between English and Spanish underground culture since Jim Whelton and Bing Selfish, who originated in The Homosexuals and The Murphy Federation, were living in Spain when they met Víctor Nubla. They hovered around the same scene in which projects such as Milk From Cheltenham, Amos & Superslicks, and The Hostiapaths were engendered. The LP was recorded at Sonitec Studio (aka Gomis 42) where Víctor used to work. By day the studio was used to record music for the mainstream, advertisements or porn, but by night Víctor recorded underground bands, thus spending days in Sonitec Studio and nights in UMYU Studio. All the bands involved worked in a very collaborative way; after all, they were sharing the instruments. The cost of the recording was divided by the minutes that would fit onto the disc and each group paid for the time that they were using, subsequently receiving a total of discs proportional to what they paid. The album was never openly distributed through record stores; the bands distributed it by themselves. Domestic Sampler UMYU is a tremendously exciting and unrepeatable record that fully captures the creativity, anarchism, and counter-cultural effervescence that emerged in Spain during the post-Franco period. Includes fanzine insert with detailed liner notes created by Bing Selfish (El Frenzy Productions). Texts written by Víctor Nubla, Juan Crek, Juanjo Sanchez, Jim Whelton, and Bing Selfish.
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7"
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TRANS 001EP
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2017 release. Discos Transgénero present the first ever vinyl reissue of the essential DIY Dutch compilation from Effenaar. Outstanding sounds recovered from Eindhoven 1982. Effenaar is a music venue located in Eindhoven, Netherlands. Founded in 1971 it hosted national and international bands like Joy Division, Sex Pistols, or Cabaret Voltaire. Effenaar was a meeting point for young people with critical views of society, politics and establishment allowing them to express their discontent. This EP is a sample of the underground scene that generated around this place in the early '80s. Features Rabbit Fun, Vovo Kai, Tubifex, and Viva La Muerte.
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LP
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TRANS 003LP
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2017 release. The Manchester Mekon were a group of musicians that were active from the end of the '70s to the beginning of the '80s in Manchester. Influenced by Frank Zappa and the Mothers of Invention, Igor Stravinsky, King Crimson, Maurice Revel, Pink Floyd, the Manchester Mekon aimed to integrate composed and improvised music, blending orchestral and electronic sounds with rock, both live and in the studio. Over a period of five years (1977-1982), the Manchester Mekon played about fifty gigs in and around Manchester, released seven tracks on local labels and rehearsed once a week. This album covers their entire career, contains the full range of music they played and includes live recordings, studio recordings, home recordings, and even rehearsals. Two tracks were previously only available on Manchester Musicians' Collective compilation albums. Some were never released, until now. For the first time in 40 years these tracks are released on vinyl, in a full-color sleeve (using original artwork from the time), with a 16-page booklet (also in color) with photographs, artwork, introduction to the band and a piece by Jon Dale about The Manchester Mekon and their times.
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LP
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TRANS 007LP
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Discos Transgénero present a reissue of the Marnie Weber's classic first solo LP, Songs Hurt Me, originally released in 1989. This seminal record was an important part of the Los Angeles post-punk performative art rock scene. Brooding synthesizers, heavy bass, strange melodies, and poetic lyrics lead you through an industrial journey. These songs were born from Weber's earliest performance art characters: a deer, an old woman, a manic courtesan, and a butterfly. Songs Hurt Me was originally co-produced by Phillip Drucker, AKA Jackson Del Ray of Savage Republic and 17 Pygmies fame. Marnie is a pioneer in art rock from the '80s in Los Angeles. She emerged early in the music scene as the bass player in the Party Boys, a formative and important Los Angeles post-punk downtown art scene band. During this period, the Party Boys performed shows with Minutemen, Savage Republic, The Red Hot Chili Peppers, Fourwaycross, The Blue Daisies, Perry Farrell's first band Psi Com, Camper Van Beethoven, and many more. Bruce Licher of Independent Project Records, whom Marnie met in art school, released the first Party Boys record. After performing with the Party Boys, Marnie went on to become a noted solo performative art musician in her own right. She has released five solo records and numerous group album releases. As a visual artist Marnie created the cover of Sonic Youth's A Thousand Leaves album --interesting to note Marnie is the hamster girl on the cover. She also designed posters for Sonic Youth and did a co-release of her second album with Thurston Moore on his label Ecstatic Peace. Expanding from her musical roots, Marnie exhibits artwork, films, sculptures, collages, sound installations, and costumes internationally in museums and galleries. She has had two extensive survey exhibitions of her artwork. Songs Hurt Me was remastered by Mark Wheaton at Catasonic Studios Los Angeles using the original tapes for an unprecedented restoration of this historic album. A pivotal yet obscure counter-culture music. Edition of 400.
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2LP
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TRANS 006LP
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Excellent compilation LP with works by LA avant-garde composer John Lafia. Active in Los Angeles' 1980-1986 underground music scene, John Lafia is best known for the hypnotic album Prayers, released through Barry Craig's influential, cassette-only label Trance Port Tapes in 1984. "Life Is Short", "A Promise", "Dream", "Hidden Things", "Spaghetti Western", and "Escape" come from that release. This compilation also features tracks from subsequent Trance Port releases: L.A. Mantra II's "Queen Of The Nile" (1984) and Phantom Takes' "The Moth" (1984). John's "Odyssey Girls" appeared on the seminal 1983 spoken word LP, English As A Second Language. "The Confession", a collaboration with legendary producer Ethan James, was released on 1986's LP, Voices From North America. While recording this music, Hollywood-based John also dreamt of making his own films. To support himself, he intermittently crewed on low-budget movies, including fellow UCLA Film School alumni, Alex Cox's infamous Repo Man (1984). Cinematic influence comes to the fore in titles such as, "Spaghetti Western", "Queen Of The Nile", "Escape", and "Hidden Things". Working alone endlessly in his home studio, John used the recording environment as a launching pad for exploring his uncensored psyche's furthest dimensions. Hours of repetitive rhythms often transported him into trance-like states. Tracks "Propaganda" and "Art Of The Jungle" exemplify this technique. Others -- "4AM", "Doubt", and "Montgomery Park" -- are miniature psychodramas (replete with three-act structures). Songs "Life Is Short" and "Dream" grapple with life's fragile and unknowable essence. "The Moth", "Fourth Of July", and "SOS", are sonic journeys into trance-like repetition. This intensely personal music never intended to "find" an audience; it was a means in and of itself. Its decades-later rebirth in this compilation is a joyous surprise. Remastered at Alb-Estudi. Lacquer Cut at Dubplates & Mastering. Gatefold sleeve; edition of 400.
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LP
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TRANS 005LP
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Discos Transgénero present an official reissue of Juan Hidalgo's Rrose Sélavy, originally released by Cramps Records in 1977. Juan Hidalgo (1927-2018) was born in Las Palmas, Canary Islands. He studied composition and piano in Spain and later in Paris and Geneva. He moved to Milano in 1956 where he has developed most of his musical career. He collaborated during his career with people like Marchetti, John Cage, or Bruno Maderna. Rrose Sélavy is a unique queer-sound-art piece that claims for revision of the role of the gender in the society through the musical language. Juan Hidalgo played a leading role in definitively abandoning the traditional avant-garde musical research -- the problem of music as sound -- to devote himself to the musical fact as a search for a language that is creative and critical at the same time. Beyond the abstract notion that the language can be a source of indoctrination, words and language play an important role in the social construction of gender. The musical language also marks and generates a very particular type of social body and listening. Precisely, a change in the syntactic form of sounds would trigger a new listening and a new understanding of the world of sound that surrounds us. Silence and noise are not only two opposite poles within music, but also at a social level. Rrose Sélavy begins with a celesta solo. A piece based on the relentless repetition of the first five notes of the scale of C major, but without predictable order, without syntactic logic between them, and without any series of tonal hierarchies between them. Since this hierarchy is missing, there is neither beginning nor end; the duet's piano, while remaining within that narrow range of pitch, expands the ground to other octaves. From the trio to the final sextet, the inclusion of new sonorities adds nuances and dimensions to what, at first, looked like simple children's music. This is a truly "rare" example in form and content in the arts scene, despite the stumbling block that has seemed to be for decades for the history and historiography of traditional style, determined to evaluate movements, concepts, and actions, is perceived nowadays, once again and as always, as a gradual, free and liberating flow. Includes the original inner notes by Daniel Charles in addition with notes from Julio Pérez and Eloy Palazón. Edition of 500.
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