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Chrome
Half Machine From The Sun: Lost Tracks '79-80

elektronika/ rock
King of Spades, 2013

Czas trwania: 73:42

Średnia ocena klientów: -    oceń

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CD : 79,90 zł
dostępność:
ok. miesiąca
Nr kat.: KofS 400
EAN: 829707040023
format : CD
liczba nośników : 1
Opakowanie : plastik
winyl : 176,90 zł
dostępność:
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format : 2x12"LP
liczba nośników : 2
 


nr tytuł play mp3
1 Anything
2 Salt
3 Looking For Your Door
4 Tomorrow's Yesterday
5 The Inevitable
6 Fukishima (Nagasaki)
7 Charlie's Little Problem
8 Ghost
9 Sound And Light
10 Autobahn Brazil
11 Sub Machine
12 Morrison
13 The Rain
14 Something Rhythmic (I Can't Wait)
15 Housewarming Party
16 Sugar Moog Pops
17 Intervention
18 Sunset


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Tracks recorded by HELIOS CREED and DAMON EDGE in '79 and '80, during the "Half Machine Lip Moves" and "Third From The Sun" period, but never released. About this era Helios recently wrote: "We were into Iggy and the Stooges, and Punk shows started happening at the Mabuhay Gardens in 1976 which was right there in North Beach too, at the end of the Broadway strip. It was the most fun era of my life. The Punk scene had an incredible energy and fire. Then the Sex Pistols came out with Never Mind the Bullocks in 1977 and we released Chrome's second album Alien Soundtracks the same year and the whole Punk thing exploded. Next we released Half Machine Lip Moves in 1979 and it and Alien Soundtracks, took over in the Punk world. Our record covers filled the windows of record stores and I was in awe. We weren't really a traditional Punk band. Nobody else sounded like us. We were more of a Psychedelic band, but a Punk version of Psychedelia, Acid-Punk. But I was influenced by the Punk scene, because the music was experimental and free, but still hard and solid. Punk's guitar was fucked up and without rules. So it was a great scene to keep developing my sound and my approach to guitar. Damon and I were both into expanding the possibilities. We fed off of each other in our experimentation and as we created we'd both like the same things. There was this thing that Damon and I called 'the Chill Factor' where if its really good you get goose bumps, and we used to get the 'Chill Factor' at the same time. We shared concepts about how to approach music and we pushed the limits and that is how I guess we became known as proto-Industrial, because we expanded the possibilities of what music at the time could sound like and people were influenced from there. Damon's and my meeting had become a catalyst for the birth of a whole new sound."


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