Red Exposure

80年名盤がボーナストラック追加でリマスターCD / LPリイシュー!!

のオルタナティヴ / ジャンク・シーンにも多大な影響を与えたDAMON EDGE、HELIOS CREEDを中心とするサンフランシスコの伝説的インダストリアル・アシッドパンク・ユニットCHROME。1980年にリリースされた代表作にして名盤『RED EXPOSURE』が、デラックス・リマスター盤で登場!

実験的なスペースロックとパンキッシュなアプローチを感じさせる音楽性、近未来のディストピアを表現した世界観で同時期のバンドとは一線を画したカルト的存在。他の楽器と一体化したEDGEのヴォーカル、EDGEの鋭くダーティーなギターも存在感溢れたCHROMEの魅力が爆発した代表作。スペースロック、クラウトロック、THROBBING GRISTLE、CABARET VOLTAIRE、SUICIDEファンはマストでお願いします!

リマスター音源 / ボーナストラック追加

Continuing deeper into their self-created world of weird alien skies and man/machine biology, among many other things, Edge and Creed, still working with John Cyborg, whipped up Red Exposure. Released as it was in the U.K. by Beggars Banquet during the heyday of Gary Numan, Red Exposure probably came across as the whacked-out American version of the modern machine music Numan (or more appropriately, Cabaret Voltaire) was whipping up. Seen in the light of history, though, it just sounds like Chrome -- a slightly more controlled Chrome than on previous albums, but still out-and-out crazed and strange. Elements of fractured beauty surface more than once -- the instrumental "Room 101," with haunting keyboard sighs and drones, and the similarly moody pulse of "Nights of the Earth" show that not everything is completely cracked. Such moments are only brief compared to the usual hip-shake mind-f*ck of Chrome, pitched somewhere between unexpected catchiness and head-shaking, "what the hell was that?" shifts and turns. Musically there's less clutter, no immediate sense of piling absolutely everything up to see what would happen, even on the busiest tracks. Still, everything feels distanced and not-quite-there as before -- even the crispest, punchiest songs, like the slow-dance beat of "Static Gravity," have something frayed at the edges (in this song's case, distorted and muddied orchestral swoops). Edge and Creed split the vocals between most tracks, while playing a boggling array of keyboards, guitars, and whatever else they could get their hands on. Creed's singing is a little more comprehensible than Edge's, who buries himself in the murk as much as possible or ominously whispers when the mood takes him, as on the more-cryptic-than-thou trudge of "Jonestown." Samples and drop-ins again make an appearance, but usually heavily treated, acting more as background atmospherics than jarring cut-ups. The most amusing cut in context is "Electric Chair," which sounds like somebody told Chrome to see if a Devo-like hit could be created. ~ Ned Raggett