Helios Creed
The Forbidden Planet
By: Henry & Giampiero Phlebas Ramunni
Rockerilla # 152
April 1993

**Note: This interview was originally in the Italian language. This was typed out in Italian, then plugged into an online translator to get the English translation. There's words here and there that don't make sense, and some things may sound a bit off, but for the most part, it's a decent translation**

Burning Chrome

Helios Creed in Italy for two European tour! Wonderful opportunity to know and see in action one of the most original guitarists misconosciutu U.S. over the past 15 years. Her career began substantial between 1977 and 1983 with the project with his friend and Chrome Edge Damn it is responsible for a large set of innovative, hybrid metal-techno-influenced psychedelic space projected reinterpreted in the extreme and broad vision in an attempt to redefine human nature in music at the turn of 2000. Pioneers of self, subversive potential of freedom of expression in the extraordinary scene of San Francisco along with the Residents, Dead Kennedys, Tuxedo Moon, Sleepers, toiling Midgets, Mutants ... revolutionary independent explorers at the end of 70s.

The experience of post Chrome Helios Creed, and yet full of trial, lived with enthusiasm and curiosity of a young free spirit, with the modesty of the traveler for whom the move does not mean just to walk miles and tours but also to know and experiences. The road 'is still a place of interaction to draw graffiti on sonic industrial architecture, visions technologie invasion mental deformed by cosmic psychedelic and bizarre atmosphere that combine a cartoon Hanna-Barbera as a science fiction movie of the '50s. In addition to being still vital point, Helios Creed has helped to influence what is defining the coordinates of the most extreme of the modern rock sound electrical junction. It's not a coincidence that its outputs are badged Amphetamine Reptile, which acted Sub Pop and C / Z, which I Chrome are increasingly CIAT is honored by groups such as Jesus Lizard (cover of "Chrome" the debut single) Butthole Surfers (Helios will be a guest on their next album), Prong (cover of "Third From The Sun), Helmet, Neurosis, A-10 (Cover of" Abstract Nymp "), as well as a brilliant reissue of two editada Touch & Go masterpieces such as "Alien Soundtracks" and "Half Machine Lip Moves".

Helios Creed develops its alchemy succeeding in the delicate business of changing each output with different environments, from hot and corrosive alien pop of "Last Laugh" (No. 111) to delirium Hendrix's "Boxing The Clown" (No. 125) to the dense of darkness "Lactating Purple" (n.135) immediately opposed to the positivity of the recent "Kiss To The Brain" (No. 148). Apart from a personal guitar style articulated phrasing and quick, unmistakable from the time of Chrome, the main characteristic of the sound of Helios Creed and the great use of special effects, which often also used to modify your voice, via a work research developed unabated and especially on stages across the world ...

And The Gods Made Love

Mezzago, February 12, 1993, almost 13, Helios Creed shines from the stage of Bloom bent on his Gibson SG purple strobe type safe fast action sequences, making it appear the devil a tiny detail in his imposing bulk. Three microphones capture the voice breaking it down into a strange alchemical technological apparatus of cans, a kaleidoscope electronical atomiza that vowels and consonants to scan codes in ever-changing aliens. Helios takes his breath respire altered her, trapped in a few minutes before the delay, moving the sliders and knobs with relaxed precision for a new touch. ACT is fantastic, an instant underground labyrinth acid; Z Silver sinuous dance of vapors of a platinum wavy hair, touching the keys on the synth genre echoes cosmic concentric on which thickens the powerful dynamics of the rhythmic propulsion of the marked expansion four strings by Chris McKay and the compression of the heart of Paul Della Pelle.

Raffiorano clear vibrant pictures of a few hours before meeting with Helios Creed Marshall just as I spread a vortex that evokes the first instant of "Electric Ladyland, Hendrix immense hive of creative freedom ...

The Interview

What did you do before Chrome?

I was looking for a band. I played the acoustic guitar with Gary Spain, bassist Chrome which then played the violin. We played in the street, in small pubs and bars, passing the hat at the end. One day he told me to be in this band called Chrome that had already recorded an album, I asked him to listen and now wished to join the group. It was the only band in San Francisco who could make a record of their own production! It is "The Visitation," I do not know if you know it. When I listened I thought, "I do not like in the sense of rock music, but I like the music space." It was very weird Disney de Chrome psychedelic music and they needed me in 1977 in SF anyone else wanted to play blues or jazz or the Grateful only Dead. Finally I entered the band, two of them went and I stayed, Damon Edge, Gary and John Lambdin Spain who was heavily involved in drugs ... came and went. With this line-up recorded "Alien Soundtracks" and part of "Half Machine Lip Moves" as long as Gary and John went, we stopped and then Damon and I arrived with John and Hilary Stench quail I did the show in Bologna.

We know the first three albums and Chrome are among the masterpieces of the 70s. If we allow a comparison with a decade different experimental episodes remind us of the wonderful 60s as the "Parable of Arable Land" of the Red Crayola and "Vol 2 "on the West Coast Pop Art Experimental Band ...

Red Crayola ... Great! Damon I offer myself and I liked their records so that I would not give it back. They had become great, but were unsuccessful. We wanted to continue the discourse and psychedelic Damon is fucked up that I thought was the punk era that was out of fashion. We thought that the psychedelic was to continue and expand into positive and negative space, we did not know if it would please the public but we would have continued.

With your logo Siren were among the pioneers of self, can you tell me about that experience and how you were held?

Damon had a half-track Revox, a Sony 4 tracks and a small mixing desk, so we put the 4 track, adding two runs, driven back back and add voice, guitar or effects. It was great working with Damon because then a few in San Francisco had this urge to experiment.

Tell us about the scene in San Francisco, who are your memories of the other alchemists of that period?

There was a scene even if very small or at least that these bands were perceived in the eyes of the world. Tuxedo Moon, Residents, Sleepers, Mutants ... a scene of freaks! Residents did I sign many of these bands for their label Ralph Records. We participated in "Subterranean Modern" which shows how the Chrome were part of the scene along with the Residents, Tuxedo Moon and MX 80 Sound (note inedited Collection with three songs in a commune "I Left My Heart In San Francisco" for each band ). At the last moment, however, chose to go with Beggars Banquet, but we should not do that because then left us in his underwear, we call it Beggars Bankrupt! Our lawyers told us we had lost a lot of money, so I regret not having stuck to the Ralph. Now there's a scene in SF but I have to tell you that it is always around to play when I get home do not go out much. There is a great band like Primus who until two years ago but only played in small clubs and might one day rise again in the SF psychedelic.

What is your favorite album of Chrome?

The best album would be a cross between "Half Machine Lip Moves" and "Third From The Sun" But I like them all, some do not make me crazy like "Blood On The Moon" is missing something, we recorded it so fast! Our best time is late 70's early 80's, the period of Bologna 82.

Why you left the Chrome?

Damon did not want to play live and I will be, so I knew my time was over shortly after Chrome "Chronicles I & II", then record that Damon has condensed as "Raining Milk" and reissued with the original title in the "Chrome Box . 'I tried to form a new band to play live and it took me 2 years to start the project Helios Creed, and was like starting over.

In our opinion, your guitar playing has helped to create a unique sound Chrome grille, a reference to the modern guitar noise and a direct consequence on your new album ...

My guitar is still basically one and my music, and an extension of what I was doing in Chrome. The music that makes the continuation of Damon and his way of feeling in Chrome. We learned a lot together, taught each other as effects, musical oddities, we had an idea on how to do things all our own. Helios Creed would not be the same without the band Chrome, I call this school for learning Chrome.

What are your favorite guitar?

Robert Fripp, Jimi Hendrix, Snakefinger (one of the best people I ever met) and Paul Leary of Butthole Surfers, all of them I consider my influences.

What is your relationship with technology and experimental research?

I think if I did one thing at a time I would be bored, for example, I like to play rock songs as well as conventional and bizarre things fast or noisy acoustic pieces, I like to keep experimenting with machines like the ones that I climb the stage, connected to the EFFECTS entries, delays, echoes, things that sound like industrial noise, once a German snob towards me and makes me laugh: "What is that stuff?" So I call it all: "The Machine" will see her later, and noise total, and not a real car only has the look. I'm stacking these boxes and we put on things and lever control, people do not know what I'm doing, hang with strange equipment, such as a factory worker or something. It is very fun and challenging, like climbing a mountain every night, not easy to play a song with the knobs because you can not miss, many times the noise takes over and I do not know how to get back to the music!

Another constant in your music and science fiction ...

I really like science fiction books and movies of the 50s with little money by flying saucers, alien-looking fake and the show of the series Twilight Zone.

When you start your career as Helios Creed?

In 1985 with the album "X Rated Fairy Tales." It was very difficult to find and register for a label that published it and then finally I found Steve's Subterranean, and so it took two years for its release burdened by poor distribution and promotion of anything. Even today, my only promotion and come here and play! Between 1985-1986 I made "Superior Catholic Finger" but Steve was printed two years later, in 1988, when I had already entered the Amphetamine Reptile, which operated a mine out every year. Now these first two works will be reissued on one CD.

Could you give me a personal vision of your work as Helios Creed?

I have many faces, and frankly in the early work was very involved in drugs, drinking, and this affects the music and also I had no money to use the effete I have now, and now I no longer drink and I do not do hard drugs, bought more effects and my music is becoming more psychedelic, more strange rock while remaining at the same time, harder and more bizarre. When we did "Lactating Purple" was the smallest but the budget for "Kiss To The Brain" I spent twice using a better study.

The covers of your albums are very impressive ...

Do you like? Tom makes Hazelmayer (note: Mr. Amphetamine Reptile), are connected to those in Chrome with symbols of industrial society, violent. All this and very American, all that I can think of negative U.S.. I like the cover of "Kiss To The Brain," with the alien, the pyramid, the modern city: for me the image of a positive future, a positive vision, that's what that record, the opposite of " Lactating Purple "influenced by the Bush presidency, a real footprint, very down ...

In "Kiss To The Brain," fragments sound crazy alchemy disturb your mighty power, in their song titled album. An isolated case or something to come back to experience?

It may be that what is developed, I like those soft tones in the middle of the rest hard. Believe it or not, were really listened to Jethro Tull as a kid that inspired such a thing, a very cool contrast. I did the Crimson King, great dynamics, I like it!

Who are your companions?

The same for the last two albums apart from the bass player and new, even better. Now with the sound very favorite people. I like what they do and they appreciate us, we are all fine. Their names are Z. Silver, synth, Paul Della Pelle, drums, and Chris McKay, bass.

You've produced records or participated in recordings of other bands?

In the next Butthole Surfers produced by John Paul Jones, former Led Zeppelin, collaborated on two songs: "Clean It Up Bitch" and "The Annoying Song." This also made me know John Paul Jones, we shook hands, I asked things of Led Zeppelin and I was excited. I listened to Zeppelin 500 times as a kid and now met their bass player, a great person! During the European tour in late 1990 I was contacted by the stage of Monaco Nonoyesno they asked me to record "Third From The Sun" in session, I had "The Machine" because it already assembled for the show in the evening and so I played without effects is like voice as a guitar. I had more time I would have also helped with the mix. I just now received that single (note: "Lederhosenverbot" 12 "EP on Glitterhouse) and I have not heard.

What do you expect from the '90s?

I do not know, I hope that people travel more and hope that the psychedelic grow up in a new way for a universal distribution of planetary disks and magazines, listen to music with the possibility of other worlds and they can hear ours!

What do you think to be considered when sitting among the musicians who are influencing the current modern American noise?

I like, bands that are "loud noisy rock music." I'm glad that they have become great Helmet. Some say that I got to do with everything, others say no, I'd like to think I contributed but I do not know, you say what you think.

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