Dynamo!, 07-08/1996

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 "little attention".

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 enchanted.

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 it's real.

D. But do you belive that musical experiences closer to Kirlian's ones exist?
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. I'm tired...

  • Unknown Author

  • English translation: Adalberto Orrigo - 29.11.2004