Gothicland goth site, 01/2001

  • Kirlian Camera is an historical project that exists from many years, on the base of your experience could you indicate the main differences between the historical "school" industrial-ebm and the actual electronic scene?
    KC - The actual development of this area is, in the most of cases, rather unrelevant, if not for the many possibilities that the electronic medium actually offers, allowing to various entities to "play actual" with little effort. Just related to this, with proportions, I don't feel to be enthusiast toward a scene that today seems retravel rather tiring roads so widely exploited before, only helped by "little machines" at low-cost that already own those pre-builded orientations ready to usage.
    "Auto-da-fè" of SPK was out much time ago... and I see that only a low number of musicians succeeded to develop an attempt of originality that won't fall in the patterns that many know. Moreover, the manipulation of the sound is attitude that needs devotion and seems not suitable for everybody. It's already much if a record sounds good in these times: it takes the look of a miracle! Due the enormous availability of sounds and solutions to use, I must understand there is around little convinction and real passion, due the fact that one succeeds so little to add a touch of good taste and/or inspiration. The electronic scene not tied to industrail/power electronics etc. seemed to me more stimulant, till few years ago and people like Aphex Twin, Plastikman, Recoil, Pansonic, Chemical Brothers, Autechre, Fluke and Underworld gave some good result, but I see that also in that direction a "tired phase" begins to verify. Apart all this the Laibach resist, and continue to realize good works, really distant from any kind of joke and spirit careful to grow a constant evolution.

  • Which instruments do you mainly use for the realization of your music?
    KC - I don't use so many instruments.
    Basically, I use very normal things, like synths E-MU Orbit, Roland Juno-60, Waldorf Pulse, EMS Synthi A/AKS and an old sampler Ensoniq EPS 16Plus on which I import bit of sounds mainly created by me that they will be re-elaborated then in a second take. I have a Roland MC-505 that is an amusing little box on which you can combine various things and a string keyboard of the '70s, the Crumar Performer, that I use for treatment... but I especially use many esternal filters and here the Synth A/AKS already quoted helps me very much, together with Waldorf 4 Pole and Korg Kaosspad.
    I have too a pair of vocoders, that I rather often use in a way just a bit more "humanized", avoiding effects too much sacked before. Lately, we are inserting some part of electric bass somewhere and the guitar is appearing again. Also such instruments pass often through filters.

  • Actually do you collaborate or collaborated in past with other artists? Could you describe these experiences?
    KC- On the last album Patrick Leagas (Sixth Comm/Mother Destruction/Death In June) appears, an element that should partecipate also in future to some of our works, just remaining only a guest. Gianluca Becuzzi (Limbo/Pankow/Metaform) is another person that we used to work with in pleasant way. With him we are now "recomponing" one of his tracks to add it like "extra" on the single from the new album, that should be out around Christmas.
    In past I had on my side musicians like Simone Balestrazzi of T.A.C. (we are working with him on a pair of projects...), John Fryer (This Mortal Coil), Dirk Ivens (Dive/Sonar), Rudy Ratzinger (Wumpscut), Krishna Das, Celestino Pes (Andromeda Complex), etc...
    Different what regards Conny Plank and Human League.
    The first one (producer and/or technician of Kraftwerk, DAF, Ultravox, Eurythmics, etc.) was dead just before the realization of an album that would have seen the light only after 10 years under the originary name Ordo Ecclesiae Mortis/Zentral Friedhof and that pratically contains the demos of that record, recorded without Plank. With Human League we made nothing that a split-single for radios and juke-boxes and to be in agreement on that we meet just only once, because the respective pieces were already ready.
    Sometimes, rarely and when there is a bit of time, I still like to go to studio and produce others, but it's an activity that I retain for this moment with no continuity. Not so much time ago I produced the debut album of Leutha and this year the album of Criminal Asylum, a new Italian band that I like very much. I was never much inclined to collaborations, but I admit that, with time, our story seems belie my inclination.

  • Actually do you have side-project, if yes could you describe them?
    KC - I restarted to work around the STALINGRAD project from few times, that was parked for a while after a partecipation to a compilation that caused some tension, around.
    In a first time I asked to my collaborator Ivavo Bizzi for composing material for that extemporaneous nucleus, but Ivano didn't find time, so I asked for help to Elena Fossi, the Kirlian Camera new-entry and with her I'm recording from a month some things that should be released on a mini-album on which Ivano partecipates too. It will be out the next year. It's a project simpler and rawer that KC, but it succeeds to amuse ourselves, to give us pleasure, then... a true and real band was constituted that will play also live, when KC are stopped.
    I started to compose material for the solo project URANIUM USSR 1972 too, a sort of personal research linkable to minimal ambient a bit particular, but the work is not finished yet and it won't finish within short times.

  • Future projects?
    KC - Within a couple of months "Absentee" will be out which is a maxi-single that contains the namesake track of "Still Air" and other unreleased material.
    Always in the same time it will be released a work that it's not be part of our discography, due the fact it was organized from "external people", and on which we gave our contribute in minimal part. It's a book comprehensive of a longest exclusive interview to the band, photos, biography, etc., that will hold a remix album and alternative versions of our songs. The guest bands are Zosma (I), 6 Comm (UK), Wumpscut (D), Limbo (I), T.A.C. (I), Leutha (I), Collection D'Arnell-Andrea (F), John Murphy/Knifeladder (UK), Andrew King (UK), Manipulation (D), Bruce Lafountain/Sword Volcano Complex (USA), Naevus (UK), Criminal Asylum (I), Andromeda Complex (I), Leisure Hive (UK), Die Larm (I). It will be present, in the end of CD, an our version of "Blue Room" too, an old track. This project will be available too in an alternative version limited to I believe 700 numbered copies that will be out in a box format holding the book, the CD, a second mini-CD, poster and t-shirt... the sweets are bought apart...
    For the rest, Patrick Leagas began to put his hands on material relative to a split-album with us that should be out about in an year; re-elaborations of our tracks with various things in addiction and turned by 6 Comm, in fact. We are re-starting the single concerts and tours, bringing with us Andrea Savelli, the new bassist.

  • The game of the Top Fives with Kirlian Camera

  • Top five cd
    PINK FLOYD Ummagumma
    KRAFTWERK The mix
    ARVO PART Kanon Pokajanen
    POPOL VUH Best of

  • Top five food

  • Top five cities where live

  • Top five played/seen concerts

  • Top five public/storical personages

  • Soisialachas

  • Taken from:

  • English translation: Adalberto Orrigo