Crystalized Movements ‎– Damaged Lights - Early Recordings 1980-1983

Twisted Village ‎– TW-1010
Vinyl, LP, Album, Limited Edition, Numbered

Tracklist Hide Credits

A1 To Die
Performer [Miscellaneous Sounds] – Doug Schutz
A2 Overture
A3 Life
A4 Here Comes The Train Part One
Bass – Jim Johndrow
B1 Here Comes The Train Part Two
Bass – Jim Johndrow
B2 Speed Trip
Drums – Wayne RogersGuitar, Vocals – Ed Boyden
B3 I Am The Only Guitarist In The World, And I'm Bleeding
B4 Sheep Resurrection

Companies, etc.



Limited edition of 296 hand-numbered copies. Recorded when leader Wayne Rogers was aged 14 to 17, judging by recording dates (1980-83) and Wayne's stated age of 16 in the front cover photograph, from 1982.

Recording dates
A1: 1980
A2, A3: 1981
A4 to B2: 1982
B3, B4: 1983

℗ & © 1991 Twisted Village

Barcode and Other Identifiers

  • Matrix / Runout (Side A runout, hand-etched): TW-1010-A L-38766
  • Matrix / Runout (Side B runout, hand-etched): TW-1010-B L-38766X



Add Review



December 7, 2010
Let me state here that I consider Wayne Rogers to be the best psychedelic guitarist of the second psych era. His only real peer in this respect is Nick Saloman, but where Nick has hewed to certain formal restraints inside of Bevis Frond, Wayne has taken what he knows and fearlessly plunged into new turf, accepting knowledge assumed from modern masters as well as olden ones. For me, Crystalized Movements were a band displaying a kind of pinnacle affinity for historic string excess, unafraid to try it our in new formats. Their first few LPs were shards of pure genius, and so I was surprised that Wayne allowed these early experiments to be issued around the same time that This Wideness Comes was reissued by No. 6. These experiments with form are incredibly raw and full of disjoint noise that must have seemed insane to other guitarists practicing at the time. But they are a great view into the soul and guts and noise addiction that lie near the heart of all Rogers' subsequent functions. These recordings stem from a time before he suspected that anyone would ever hear them and they're so strange and experimental and captivating that I know he'll never reissue them again. But my god, they're amazing to hear. I gave the Movements their first real gig ever, opening for Sonic Youth (debuting Daydream Nation) and Borbetomagus, and this album demonstrates that they were the exact right band to fill that slot. It's a monstrous pile of noise. So beautiful.