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
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
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.
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
JOY DIVISION Closer
POPOL VUH Best of
Top five food
CLASSIC NEAPOLITAN PIZZA
MOUNTAIN PASTURE CHEESES (generally)
RIBBON-SHAPED MACARONI WITH MEAT RAGOUT
TRUFFLED HEART OF CALF
Top five cities where live
Top five played/seen concerts
Top five public/storical personages
Only JESUS CHRIST
Taken from: http://digilander.iol.it/gothicland/kirlianit.htm
English translation: Adalberto Orrigo