Here in Italy an interview for a band like ours is an almost impossibile
goal...". So Angelo Bergamini begins at our first contact to find one
of those hidden Italian realities and envied foreign, that work better
outside, that remain "little Italians" by choice, because an unexplainable
D. Several years have now passed since your discographical beginning. What
has musically changed in the project Kirlian Camera?
A. Probably today Kirlian entertain in "colder" climates. There is less
instinctive romanticism, that romanticism maybe a little naif that there was
in the first records. However I believe there is not a big difference of
contain... only sometimes the music is more minimal than time ago. This doesn't
mean that sometime we don't try warmer raids. Surely there is less emphasis
in the female voice, that now delays less in theatrical mistakes and
typically wave 80s statement. Today either musically that humanly we are less
D. However I believe some references to gothic, to decadent, to German
electronic avantgarde of 70s are clear. Are you agree?
A. It's true: we group many tendecies under a style that, you can like or
less, it seems to be further personal, at least I hope... substantially they
space in many directions, a bit like more particolar progressive bands did in
the 70s like Van Der Graaf Generator. However it's clear that we don't play
like Gentle Giant or Soft Machine. It's not my direction. I believe that
Kirlian is a band in continuous musical mutation... In every case our
background remains a very strong romantic vision of the life. Assault
romanticism, almost punk: I know that it will seem a strange approach, but
D. But do you belive that musical experiences closer to Kirlian's ones
A. Doubtlessly there are artists that can influence the work of others. It
has always happened. For example I could never exclude Gyorgy L. from the
list of who transformed my way to compose. Several times, I even succed to
"copy" that composer. Then I can say Alban Berg, Kraftwerk, Pink Floyd, even
if, and this time I just want to say even if I can be misunderstood, many
musicians that I love were exactly doing the same experiences in the time
myself did them. So I don't believe to say of influences: rather affinity. When
the record of a certain artist was out, many times I remained fascinated. But
"he" simply was able to put out a product in the time I was not particularly
loved by any discographic label. So, not rare times, I had to rework on some
pieces to avoid that those were identical to others not mine. However I don't
think that basilar influences happened during my way.
D. If I should ask to summarize the Kirlian message...
A. The Death is the message of Kirlian. An unavoidable, supreme death. The
ransom of undergone wrongs of weakers and more lovable. The death is from our
part, because we loved it and many other not. The despair and the anguish are
other two guests... the sense of collapse... the lost mind... the torture...
this inside torment... a death monument.
D. Yours was the occasion to work with many artists in foreign countries.
How did this influence your musician experience? Do you have a particolar
anecdote to tell?
A. Yes, I collaborated with some people, and with others I'm actually working.
I have a good memory of John Fryer of This Mortal Coil, with whom I produced
and played part of "Eclipse 1". I'm absolutely happy about developing
collaborations with Dive and German Wumpscut. But more than everyone I loved
two persons, with whom I only spoke about project that remained unrelealized:
Nico and Conny Plank. When I think to them I get chill. With Nico we met in a
club here in Italy during a tour, and we decided to see again in France for a
possibile collaboration regarding Kirlian. With Conny I was at Grand Hotel of
Rome, when he was on tour with Eurythmics: it was stupendous. We had the same
way to worked, really particular: both of us loved to produce with a television
that projected a video concerning the theme of faced compositions. He was
really interested to produce our material, just to say that we could count on
him also economically. But unfortunatly Virgin, our past label, didn't agree,
and so for a moment it was changed the name of the band, that become Ordo
Ecclesiae Mortis. I went with a friend near Colonia, in Conny's studios. But
we found him at bed, with no strength: he was dying. John Fryer took then his
place due our precise request. But I miss very much Conny...
D. Let's talk about other: but it's really "easy to do" actual electronic?
A. It's true, much actual electronic is very easy to conceive and to do,
but I'm not so contrary. I only find many bands equal and with no brain. I
don't like very much the home-recording: Kirlian and T.A.C. of Simone
Balestrazzi, record always in external studios, even with enormous economic
toils. I believe in good sound engineers, absolutely, but I must admit that
computer is helping many people to be out. From my side I can say to hate it
and avoid it when possibile, that is almost always.
D. I believe it's all: I leave you the last word...
A. I want to say that I'm tired, that I can't go on anymore, that I'm
dying, that two psychiatrists are following me, but results delay, like every
nice thing that you can only dream. The nights are horrible, with no sleep.
English translation: Adalberto Orrigo - 29.11.2004