Tag Archives: trensmat

CHEVAL SOMBRE: I Sleep (7″, Trensmat TR012, 2008)

Another Trensmat release; I’ve previously talked about another of the records from this label – but this one isn’t a lathe-cut record. It’s a regular 7″ single pressed onto rather fetching translucent dull green vinyl. I’d no idea who Cheval Sombre were before coming across this record, and then soon after receiving it I saw a full page review of one of their other records in The Wire. Obviously I’m not as all over the experimental drone/noise music scene as I could be. I’m not sure if I’m happy with that situation or not.

Some aspects of note:

  1. The record’s labels are blank, save for a simple ‘trensmat – every noise has a note’ stamp onto one side. This gives a nice lo-fi feel to things.
  2. An accompanying CD-R joins the record within the sleeve, containing the songs on the record along with one extra piece. However, it’s hard for me to give the name of these songs as the text on the disc has been printed onto one of those plain white CD-Rs and has subsequently seeped out into a strange red-grey blur of bloated text. It looks interesting, but I don’t know what it might be doing to the all-important digital information underneath. I’m afraid to play this CD-R: a fire could break out. Safety first.
  3. I mentioned the back-to-front sleeve opening of the other Trensmat release that I’ve written about here. This record’s sleeve is even more maddening – it’s all wrong; if it’s supposed to open from the right hand side then the text is going in the wrong direction; if it’s supposed to open from the top then the front cover is on the back, and vice versa, or the front cover is printed the wrong way round; if it’s supposed to open from the left hand side with imagery on the front cover, the text on the back is in the wrong direction. (Should I just get over these hangups? Perhaps I should tear the sleeve in half in order to put things around the way I want them).

I have two copies of this record. There was some slight confusion over payment when I ordered this and a couple of other Trensmat releases, meaning that two sets arrived but I’d only paid for one. The very nice man from Trensmat said for me not to worry about it and let me keep both sets. I can’t remember what the other duplicates were, but if anybody wants my spare copy of this, drop me a line…

OUR LOVE WILL DESTROY THE WORLD: Yellow Nirvana (7″, Trensmat TR019, 2009)

When the randomly-generated number came up and pointed me in the direction of this record, I have to admit that at first I had no idea what it was and could not recollect even the slightest fact about it. But as I scrolled through my spreadsheet to reveal Trensmat as the label behind the record, things started to make sense.

Trensmat started up (out of Dublin, I think) a few short years ago, and since then has kept up an impressively relentless release schedule – around twenty releases within perhaps three years. Their first couple of releases were of such quality that they were quickly added to my ‘labels that I’ll happily buy everything from’ list.

Lately their releases have been in this format – a very limited edition lathe-cut record (mine is number 014 – I don’t know how many exist), wrapped* in a mysterious sleeve that also contains a CDR with the recordings from the record along with more. I like this combination format: CDRs are great for listening to music, but don’t look too beautiful; lathe-cuts’ sound quality can sometimes leave a little to be desired, but they look fantastic and somehow otherworldly.

One thing Trensmat has been good at is introducing me to some weird and wonderful new artists (normally at the noise/weirdo folk ends of things). In the case of this record however, I’d actually heard of the artist – or at least the artist behind the name. Our Love Will Destroy The World is in fact Campbell Kneale of Birchville Cat Motel, who is something of a minor starlet in the very specifically The Wire-type axis of odd musics. Once he released a record in collaboration with Neil Campbell of Vibracathedral Orchestra (amongst a million other things). You have to love the rarity of that kind of team-up being able to happen! If I ever come across somebody with the reverse of my name, I’m releasing a record with them whether they like it or not.

*A note about the wraparound sleeves used by Trensmat. They have their opening on the left-hand side, rather than the more traditional right-hand ‘book-style’ opening. This maddens me, for some reason. It’s like when a record’s spine is printed the other way up to usual. What are these people thinking?