Chrome
Blood on the Moon

After "Half Machine Lip Moves," Chrome reaches true success: the sensation of being recognized within a movement, a cultural sphere, a manipulation of the real image. There is a need to continue to give rise to this disruptive school of life, despite the ever-growing threat of ideal self-destruction.

The foundation of "Rottonian thought" saves the intelligentsia and the proliferation of imposing names like Tuxedomoon and Pop Group. Far from the three chord saturation of watts.

Chrome is a pyrotechnic spectacle of the Cosmos, in the Ultraworld, sunk in cells in space.

After setting the catastrophes of two thousand future years from us to music, we arrive in 1981 at "Blood on The Moon." The glimmers and artistic plays of the cover introduce the work. Let's think about where we left off. Far superior to our imagination is the medal that clogs our light. Their conception is always different.

The style that will progressively distort is foreshadowed. The cruel impact of shaping, everything realized only in "fashion," breaks the band's line.

"The Need" is the personal lesson of chords and structure. The boulder exploding in the strings and the true spirit, fueled by vocal effects. Nothing breaks, nothing shatters unless the adverse, the incredible: "Innervacum" writhes on a repetitive rhythm, thanks to the strings extended over time, until they can no longer find form.

The title track is spatial, very close to the tribalism of A Certain Ratio, while "The Strangers" and "Insect Human" launch drones at full speed. The central parts of the songs are fabulous, always endowed with a very valid break, thanks to divine and science fiction effects.

That "Perfumed Metal," so distorted and anticipatory of the heaviness of "3rd From The Sun," concludes this other work signed by Chrome.