Desechables

Artificers of an original dirty, primitive and crude sound, Desechables refused to be labeled as a punk band despite their multiple connotations with that vital and musical revulsive. Their provocative singer, Tere Desechable, managed to raise the libidinous temperature of the trio's shows through a morbid attitude that was overcome by lyrics plagued by references to sadomasochism, Satanism and terror. In addition, among many other particularities, the group highlighted the absence of the figure of a bass player, like the The Cramps, one of their great musical references. 

Desechables were originally a quintet from Vallirana (Barcelona), formed in early 1981 by five young worshipers of Iggy Pop's pre-punk works: Jordi Solá 'Dei Pei', Miguel González 'No', Tere González, Siscu and Jaime. At that time, Jordi was responsible for pounding a drumset, while Miguel ripped up confused chords of a battered electric guitar, being the three remaining members the vocalists of the combo. Very soon afterwards, the initial nucleus would be reduced to three components, being then Tere Desechable -with only 14 years old- the only vocalist and main figure of the trio; somewhat certainly helped was the tremendous energy and overflowing sex appeal the singer had. Thus, with a musical baggage that was reduced to their condition of spectators in the Ramones and Iggy Pop shows celebrated some months before in Barcelona, ​​in addition to having spent whole days assimilating the recordings of The Stooges, the trio from Vallirana was launched to a maelstrom of rehearsals that were filled with first-time revisions of The Cramps. 

Desechables debuted live in his town in early 1982, and after recording their first demos and performing some concerts in Barcelona, managed to capture the attention of the new independent label Flor y Nata, who immediately negotiated with the trio to record a first album. But it was finally the independent punk label Anarchi Records that would publish the debut of Desechables: a cassette with nine incendiary songs and of carefree execution that managed to raise passions in the emergent punk scene. The label released a limited edition to 500 copies that was quickly sold out; the tape also arrived in Madrid, arousing the interest of the announcers of Radio 3 and Esteban Torralva, one of the responsibles for the independent label Tres Cipreses, who enthusiastic with the wild sound of the band proposed the recording of a single. Thus, in the summer of 1983 a single would be released with the songs "La Oración", "Destruye y Mata" and "El Peor Dios", three cuts of infernal rock'n'roll produced by the Rock Espezial magazine critic Jaime Gonzalo with some help from Sabino Méndez, guitarist of the Barcelona group Loquillo y Los Trogloditas. 

At the end of September Desechables played in Lyon (France) as a Spanish representation within the II International Rock Contest, sharing stage with mythical bands like Killing Joke. His good role onstage, boosted by the shocking sexual performances of Tere, ensured them some shows in Paris and Rennes. In addition, during those prolific weeks the band managed the recording of a live LP in the Madrid Rock Ola, the same place where at that time Desechables participated in the Radio 3 "Diario Pop" party with Ilegales and Alphaville under the heading "Grupos para el Futuro" ("Groups for the Future"); but, unfortunately, his streak of good luck came to an end in a truly unhappy way; on December 23, 1983 the guitarist died (according to official sources) when trying to dock a jewelry of Villafranca of the Penedés (Barcelona) with a blasting gun, before the jeweler shot him from the back room with a real weapon and Miguel died almost on the spot. Desechables would drag like a load during all their trajectory the loss of their guitarist. Of course, the recording of the Rock Ola LP was postponed sine die, although, taking advantage of the recorded sessions of the shows in France and the aforementioned Radio 3 party, the band itself released a posthumous album six months later (already in 1984): 'Golpe Tras Golpe'. 

Later, a year after the death of their guitarist, Desechables returned with renewed energy and to paid outstanding bills with the Madrid audience. By then, Marcelo 'El Enano' occupied the place of guitar player; in addition, the band had been extended to quartet with the incorporation of Carlos. The new Desechables were presented on December 29, 1984 in the Rock Ola, and eight songs of that show were issued the following year in the form of mini-elepé by the label Tres Cipreses under the generic title of 'Buen Ser-Vicio'. Although this work was produced by Esteban Torralva and the group itself, a nefarious press of the vinyl made impossible to reflect the real crudeness of his live performances, although pieces such as "En El Infierno", "Baile de la Muerte", their particular version of Elvis Presley's "Fever" ("Fiebre") and other groundbreaking songs like "La Planta" quickly became cult objects. Also, the erotic cover of the new album, which literally oozed hard sexuality, did not go unnoticed and in 1985 the first and only print of that work quickly sold out. 

A year later, in 1986, Desechables recorded their first proper studio album: 'Nada Que Entender'; a particularly brilliant work produced by Angel Altolaguirre that would take a year to be published under the label of Radio Nacional de España (RNE). Thus, in 1987 a single would be extracted from the album with the song "Abreme", although the small distribution made impossible the definitive takeoff of the band's career. 

1988 was a great change in the philosophy of Desechables. The band grew with the incorporation for the first time in its trajectory of a bass player, Jack; besides, Angel Altolaguirre and Charly entered as members. In this way Desechables registered for the Grabaciones Interferencias label from Zaragoza the 'Amor Pirata' LP, undoubtedly, a more professional and elaborate work than the previous ones. On this album highlighted songs such the cover of Otis Blackwell "Labios Ardientes", their classic "Vampiro" or the furious "Fuera de la Ley", and a single extracted with the songs "Es Peligroso" and "Amor Pirata". In addition, the group counted with the collaboration of two first line rockers like Jaime Stinus and Javier Castro. For the first time Desechable were in a list of the commercial radio formula, even if it was only for a week. Shortly afterwards Altolaguirre would leave the band to dedicate exclusively to his own project, Angel y Las Güays, being finally replaced by Raúl. 

With the consolidation of the professionalism began to decline the spirit of the band, that soon found their members disaggregated between Barcelona (in the case of Tere, Jack and Marcelo) and Zaragoza (Pei, Charly and Raúl) meeting only to rehearse on very specific occasions. In addition, her singer began to develop a career as an advertising model and actress, at that time filming "Un Negro con un Saxo" by Francesc Bellmunt. Marcelo formed his own band, Marcelo y Las Locas. In this way, before the end of the 80's, Desechables ended up disappearing before the new vital and professional projects of their components. Some time later Tere Desechable returned to the stage and embarked as the head of Raiser, a hard rock band made up of former members of punk bands such as Wom! A2, Última Primavera and GRB. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80]