Gothica web-zine, 09/2004
Interview - Kirlian Camera
G: Let's start, of course, speaking about the last "Invisible Front":
somebody surely asked for it about 1000 times but what is it this invisible front?
Why maybe does it not exist? Or it exists only in head of each of us, and do we have to
ELENA - The travel that this album describes, it's projected toward a fantastic
scenario, that overpasses the humanity limits. We set the theme of the album in a
not-dimension, then absolutely a not terrestrial concept. People
that once were considered crazy said many times to see a place made of emptiness,
and studying even in surface we could see that there is the possibility that all of
this is not only sci-fi; we wanted to describe this space as the place
that includes science and madness, and the barrier we put between the real world and
this new not-dimension is just the invisible front, that's a sort of
gate, of shield.
G: The booklet closes with the phrase "where men
cannot live" : this increased even more the total impression that the record
gave to me, I mean that sort of aseptic travel over the human matter... of course
this is a personal vision, I was just curious to know if it could be a point of
view of the work.
ANGELO - a medium/regular human being would be destroyed immediately, in those
zones, as well as a little flexible intelligence, then not complete, so
probably negative. They are areas that destroy some kind of signals still vaguely
primordial, negative, not completely evolved, and also who is able to know
the access has difficulties to resist avoiding to lose his mind. More than
a sci-fi story, this record opens the doors to a romanticized reality
concerning concrete themes. In every case, I cannot say if those zones are
"wonderful" or terrible yet.
G: We talked about human matter: which is your vision of the
humanity? I'd like to ask because in Invisible Front I felt some sensation of harmony,
as a sense of suspension from body and time reached after having surpassed the
despair of the human consistency. It seems almost your "more pacific" record, or
however the record where we can breath an extremely static climate, less contentious...
or maybe is it the famous quiet before the storm?
ELENA - I wouldn't consider this a quiet record. We cannot have the peace if
instead of the war there is a prolix and bored fight of the human kind against the
good sense. And this walking is just static, walking of good happy rabbits that
forget what they want just after their birth. This record speaks about beauty
and despair, but it was written with rage and aggressivity, and I'm sure that
both of these two components can be felt in every breath.
G: In some tracks, we can think about Nefertiti One, there is
a reflection about the beauty: what do you identify it with? Could it be always tied
to this "overhuman" element I was talking above?
ELENA - I believe that digging well in the shit of the world, we can find a light
enchant, incredibly nice and elegant, how the humanity could be. The story of
"Nefertiti One" is a pure invention, absurd and romantic. The body of a wonderful
woman has been launched in the space to show a disappearing humanity, as a sort
of a certain religiousness has disappeared to be not confused with moralism.
The beauty is in what is pure, healthy, that will remain clean forver and it
needs neither to do a Devil pact, nor to be frightened of God to exist. But, it's
strange how such "substance" is very rare around...
G: In which way did writing this work together with Elena influence?
How did the process go, the collaboration between both of you? In which way
did you interact to succeed at the end to generate such a product? And if you
had to underline the main difference between this process and one, as in past,
almost by "one man bad", which one would you choose?
ANGELO - I arrived at the thresholds of the last two album almost alone and,
sincerly, I needed to try again "within a group". Since always I follow the
dream to have a working team, in which one I could be a creative entity by sure,
but not isolated. Elena already wondered me for the music of "Still air", composed
for a good part by her, but with the last album I believe to be united with her
even more in the original spirit of this "titanic" project that is KC.
Through Tenente Fox (just Elena...), I was able to go closer to my "soul" without
fear, not only musically. This could cause some problem too... due the extreme
intolerance I'm used to have, now in expansion. The relationships with the
external are becoming tigher. I don't have any interest outside this group,
or some magic and silent night. I don't care to travel, to talk, to compare myself...
People wants to wonder you, win you, be submissed by you. People wants to exist
through other existances, through adulation, vampirism, exploitation, emulation.
I feel only a great disgust for what surrounds me and a great love for what that
I don't see. Elena (re)transmitted me this love, surely strong, dramatic. The music,
"our" music began to be influenced. When I listen to "Invisible Front" I see
my story and I know to exist, to have no need of idlers, philosophers, judges,
critics, reviewers, adulators... and this, just being far away from happiness,
it's at least a moment of hope, or, at least, of acceptance of a future where
only God or what is similar to him will be the judge. All of this opposed to
the truth will be eliminated.
G: Ok stop talking about the last work, I believe it's
enough... I saw the last concert in Mestre, at Jam: "finally" everything went
ok for systems and situation, rarely I previously saw Bergamini so satisfied
(or at least this appeared to me). It was touching to see the cure that he
put to coordinate musicians and the audience too answered with enthusiasm:
what has it been due to? Or better, do you think that an "ideal" situation
exists for the perfect success of a live? (and I don't want to refer to
the weary and very boring polemics concerning deleted concerts, ideological
interpretations etc etc)
ANGELO - Listen to me... I never had a "normal" concert, in Italy. All the
efforts we did to resolve a hard evening have been forgotten, maybe even little
or never noticed. Sometimes we had lots of efforts to remain on stage and
not leave the club and audience to a boring dispute about ticket reimbursement.
It's useless having a personal mega-phonic, if the system is held
by the chewing-gum, because not even Daniel Lanois is able to walk
on the waters! Nothing is important, here, nothing works. The audience sometimes
understands it and it thanks you if you try to communicate the same something
notwithstanding whistles, feedbacks, lack of monitors and so on. Part (a little
one, fortunatly) of the same public defames you around, because, however, you
are "exposed" and they need to talk about something, isn't it? I know people
that plays live programming the last released CD without even remixing the tracks,
not even leaving the voice live. Others use the voice live and the base completely
in playback, totally derived by the disc, in fact. Some other else do two raspberries
in an "industral" or "avant-garde" contest, having no problem at all
to be tuned up or clashed, not even knowing that what they do is old and with no
interest or attitude that could appear at least a bit "glamour". All of this
people permits to break the balls to who must face paradoxial situations, but
nobody of them can say "your concert has problems" or "your concert sucks",
because their concert is based on playback or on mended sounds, dedicated to
the terrible motto "experimentalism/noiseness=culture" that's (un)wonderful and
satisfies your existance of lost intellectual. To read heavy books and copy
the language of the others put you in a safe place instead of being considered
idiot: then if you season with a bit of healthy egocentrism and leadership,
then you can find two stupids that listen to you. Maybe you write some review
about the concerts of those you feel unpleasants. Review that will be read by
the usual stupids. A few years ago I had a concert in the North Italy in a club
where the monitors were literally out of work. We played as two groups without
being able to tune up, because also the feedback amplification from the external
returned in delay and you clashed and lost the time too. We proceeded, we did
miracles, but the miracles are not enough in those situations. We never said
the name of the club and we will never say it. Result: the guilt of that disaster
was ours. I manage a new system, recently: if the club has not a skilled phonic
we don't go on the stage. Alternatively, we also thought to listen to the personal
problems of the phonics once these were excessively "particular". Normally
they have critical situations with the girlfriend, so they are happy
when we sell Tain-the-doll-that-entertain with 50% discount, whose
inflatable lady we became importers for the despair. In the third place, we
bought also a flamethrower to remove definitively the garbage and the bad smell
from the audience, but it is still in prove. Result: the concerts improved.
But you see that one day, being to play in a shitful club with the owner that
cries because the concert will be deleted and he must feed three toxic children,
then we will decide to go on stage without monitor, lights, phonics and so on,
then we will hear that we are deficients. Correctly.
G: Always speaking of live activity, does a group/artist/project
exist you want to share the stage with?
ANGELO - I don't know.
G: Side project: I loved and still love Stalingrad, for the
coldness and the monumental sound that it succeeds to create. Will you release
other material or will it remain an isolated experiment?
ANGELO - New material will be released. Some tracks are pratically completed, but
we must wait still for a while...
G: About collaborations, it is impossible to speak about nothing
but Jarboe... asking for no questions you already answered many times, I'd like only
to ask for a very banal question, I mean if you listened to the record of Jarboe with
Neurosis... I believe this is the definitive and evident demonstration of how a voice,
a voice with the same dignity and importance of an instrument (maybe more), can
enrich and transform a music that, apparently, could seem "distant"... I always
liked a certain "dialectical" at music level, with strong contrasts, and I believe
that this is also an element always present in Kirlian Camera.
ANGELO - Jarboe has a notable passion, cleverly guided by an "explicit convenience",
I mean by a mirror for the skylarks quite refined, able to touch the chords of the
human emotionalism. I believe that her way to sing belongs to the world, then.
It's just a compliment, of course, but we move in absolute pureness level and iron
research, making mistakes and good things, it depends. A kind of
"ultra-intolerance" little oriented to the forced dialogue, falsely
democratic level. We don't love the world, its pain, its joy, its work and so on.
We don't find that the "human poetry" regards us in any way, for what concerns
composition. So the presence of Jarboe is a good complement and fits perfectly,
or something similar.
G: The usual final question that I MUST ask... what do
you listen at the moment? There are new groups/artists, either Italian that
international, that you liked particularly? I noticed that since some time
there was a come-back in the scene of historical acts of minimal
electro and early ebm like Front 242, Daf, Nitzer Ebb, Insekt, the always
active Dirk Ivens but also Kraftwerk, if we want... Is is a case? Or maybe
did some people try to give a "lesson" to the uncountless (false) phenomenon
of the recent technoebm/future pop wave?
ANGELO - I will be unpleasent still once, but now... Let's say that I listen
very little to the recent releases. Unfortunatly I have to listen to many
samplers and, from that side, the situation is dreadful. Saying this, I
can affirm that somebody is trying to do something, at least he is convinced.
Apart the historical groups, that sometimes they are not better than their
followers... I can say that the situation in Europe brings in my mind no
names that we can quote as interesting examples. I'm listening a bit of
Muse, Rammstein, Goldfrapp, but this is not underground music... Maybe in
Italy there is a brushwood vaguely more interesting, comparing to the other
countries... so, despite the genres, I think about new proposals like
Letatlin, Chirleison, so bands of Small Voices and... the same band I don't
remember the name, if not in a second time, always too much late!
Taken from: http://www.gothica.it
English translation: Adalberto Orrigo - 03.12.2004