HELIOS CREED
Lactating Purple - (1991)

More lineup changes (this time around it's bassist Paul Kirk, drummer Paul Della Pelle, and synth person Z Silver) but as to be expected the same general modus operandi from Creed; anyone not convinced by his art won't be swayed here, anyone who loves it will enjoy this. Still, compared to his earliest solo efforts, the half-hour long Purple is a touch more run-of-the-mill; there's nothing as distinct as Rey Washam's killer drumming on Boxing the Clown or Jack Endino's solid production for The Last Laugh on this self-produced effort. When everything connects, though, it's more spaced-out/weirded-out goods from the master of such things. "Spider" is one of his best vocals (as opposed to simply being a guitar showcase), revisiting the low rumbles of "Boris the Spider" with an even more threatening edge. Sometimes the notable layering of maximum sound achieves new levels even for Creed, with everything notably overloading on "Ub the Wall." Other times it's more straightforward drug-tempo freakouts like "Modular Green," which does the launched-into-the-void approach pretty darn well, slowly fading away into squeals and shades of feedback and fuzz. "Flying Through the Either" shows what can happen when Creed applies a little restraint, most of the track consisting of an extended, generally lighter in feeling solo than many of his more explosive blasts of sludge. "The Radiated," meanwhile, is full-on hero-prog-rock epic fun that isn't as ridiculous as it sounds thanks as always to Creed's guitar skills (and the fact that it's barely two minutes long, as well). The good points throughout Lactating don't fully measure up to a distinct album in the end, though, so those looking for a good starting place for Creed would want to search elsewhere. Dyed-in-the-wool fans will happily embrace this without regret.

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HELIOS CREED
Boxing The Clown - (1990)

Another year and another backing band for Creed; in this case it includes the great drummer Rey Washam. With old bassist Duran back in the fold as well, Creed unleashed another modern psychedelic nightmare/masterpiece with the short but not-a-note-wasted Boxing the Clown. Opening track "Master Blaster" is another Creed highlight, with Washam's work the best, most frazzled accompaniment for the usual electric mayhem he whips up yet. Creed himself drops some massive riffs and mind-melting feedback, and his aggressive double-tracked bark/whine/moan is just plain gone. From there it's another plunge into the weird and wired world of Creed, with Washam's drumming and co-production abilities really helping out. The steady pound of "Sister Sarah" shows them at their best together, Washam's big wallop and Creed's usual fine work on singing and guitars both taking things to another dimension nicely enough. Creed is credited with also using a sampler this time out, and while there's not much to immediately indicate its presence or lack thereof in terms of overall sound, there's definitely the hint of him playing around more with spoken/sung elements, loops, and the like. Otherwise, the same generally compressed, intentionally artificial and very intentionally strange approach of the past is here, if given a new crackling buzz throughout. Vocals on a number of cuts are among some of the least prominent they've ever been in or out of Chrome, echoing up through the layers of noise that Creed has so thoroughly made his own. As always, there's a little surprise or two: "Go Blind," for instance, has a weird stop-start part to it that along with its relatively straightforward presentation could be the MC5 with a little more guitar wiggery. (allmusic.com)

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