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Half Machine Lip Moves by Chrome
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fave it Post-Rock/Experimental | Industrial Rock
11 tracks | 35 minutes
Released Jul 2007
on Noiseville
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- sample lyrics "DOWNLOAD" 02:19 TV As Eyes lyrics BUY MP3 02:19 TV As Eyes lyrics "GIFT MP3" 02:19 TV As Eyes
- sample lyrics "DOWNLOAD" 05:47 Zombie Warfare lyrics BUY MP3 05:47 Zombie Warfare lyrics "GIFT MP3" 05:47 Zombie Warfare
- sample lyrics "DOWNLOAD" 03:38 March of the Chrome Police lyrics BUY MP3 03:38 March of the Chrome Police lyrics "GIFT MP3" 03:38 March of the Chrome Police
- sample lyrics "DOWNLOAD" 02:38 You've Been Duplicated lyrics BUY MP3 02:38 You've Been Duplicated lyrics "GIFT MP3" 02:38 You've Been Duplicated
- sample lyrics "DOWNLOAD" 03:33 Mondo Anthem lyrics BUY MP3 03:33 Mondo Anthem lyrics "GIFT MP3" 03:33 Mondo Anthem
- sample lyrics "DOWNLOAD" 05:21 Half Machine Lip Moves lyrics BUY MP3 05:21 Half Machine Lip Moves lyrics "GIFT MP3" 05:21 Half Machine Lip Moves
- sample lyrics "DOWNLOAD" 03:35 Abstract Nympho lyrics BUY MP3 03:35 Abstract Nympho lyrics "GIFT MP3" 03:35 Abstract Nympho
- sample lyrics "DOWNLOAD" 02:01 Turned Around lyrics BUY MP3 02:01 Turned Around lyrics "GIFT MP3" 02:01 Turned Around
- sample lyrics "DOWNLOAD" 03:04 Zero Time lyrics BUY MP3 03:04 Zero Time lyrics "GIFT MP3" 03:04 Zero Time
- sample lyrics "DOWNLOAD" 01:53 Creature Eternal lyrics BUY MP3 01:53 Creature Eternal lyrics "GIFT MP3" 01:53 Creature Eternal
- sample lyrics "DOWNLOAD" 02:00 Critical Mass lyrics BUY MP3 02:00 Critical Mass lyrics "GIFT MP3" 02:00 Critical Mass
Industrial psychedelia
Editorial review
With Lambdin out and Spain barely there at all, everything rapidly became a Edge/Creed show in the realm of Chrome by the time of Half Machine Lip Moves. The basic tropes having been established -- aggressive but cryptic performance and production, jump cuts between and in songs, judicious use of sampling and production craziness and an overall air of looming science fiction apocalypse and doom -- all Edge and Creed had to do was perfect it. Starting with the fragmented assault of "TV as Eyes," which rapidly descends into heavily treated conversational snippets from TV and deep, droning keyboards, Half Machine sounds like a weird broadcast from thousand of miles away where rock is treated as an exotic musical form. Creed fully gets to shine here, his pitched-up/pitched-down guitars as good an example of psychedelic assault as anything. Sprawled all over the beeps and murmurs of the songs, not to mention Edge's still self-created drumming and Iggyish vocal interjections, it makes everything sound utterly disturbed. If not as obsessed with tempo shifts and full oddity as, say, Faust, Half Machine is still pretty close to that band's level of Krautrock playfulness and explosion. Two of the relative saner numbers are practically power-pop, at least in Chrome terms. "March of the Chrome Police (A Cold Clamey Bombing)" has Edge sneering an actual vocal hook over a brisk beat, even while Creed gets progressively more fried on the guitar and rumbling echoed laughter and barks erupt in the mix. "You've Been Duplicated," meanwhile, also has something of a vocal hook, only buried under so many levels of distortion that it might as well be a malfunctioning keyboard being played among the clattering percussion and other sounds. A suitably strange cover shot of a fully head-bandaged mannequin seemingly floating in space completes the package. ~ Ned Raggett, All Music Guide
Bio / Background
From the legendary UK magazine "The Wire"
The Wire 175 [September 1998]
"100 Records That Set The World On Fire [When No One Was Listening]"
Chrome - Half Machine Lip Moves
(Siren/Beggars Banquet 1979)
The core duo of Chrome, Damon Edge and Helios Creed - aided by various musicians who fleetingly joined the project - created music that deserved something more than the cult audience it inevitably engendered Half Machine Lip Moves was a curious and powerful hybrid, which fused a stooges-style aggression with a sci-fi and LSD-inspired otherworldliness, reflected in titles that evidenced their interest in aliens and contemporary technology. This album was arguably their finest moment (Alien Soundtracks was their other meisterwerk): Creed's searing, heavily FX-laden guitar (Electro-Harmonix Bassballs?) and Edge's eerie Moog and vocals, underpinned by metallic drums, came together to create what could have become a radical new departure point for a nascent form of post-rock.
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