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
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
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
Tell us about the scene in
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
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
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?
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.
