Interferenze Blu, 11-12/1995


KIRLIAN CAMERA is an Italian band already from several years entered in part of that fascinating and a little mysterious <<cult-band>> place, appellative surely merited in front of the homogeneous value of their discography, characteristic that marked at the end an abyss comparing to the other bands of the peninsula, and it projected it over state's borders and then in all the Europe, bright like all the night stars.
The K.C. <<project>>, we could say with no fear, gravitates around the emblematic figure of Angelo Bergamini, omnipresent mind and guide. The female face of K.C. is instead sculpted in the lines of the eterne muse Emilia Lo Jacono, notable vocalist indeed, able to bound from a language to another one without accuse a little problem and instead putting in good evidence, from time to time, the perfect pronunciation. The third element is Simon Balestrazzi. Notwithstanding his figure remains a little in shade, compared to Angelo and Emilia, it was and is not less indispensable to the realization of that cathedral of sounds raised up with extreme dedition. About external collaborators that till today are exchanged, we don't mention the names because they would be too many. Instead we can't not notice their perfect insertion in the project, fact due surely to their artistical skills, but even to the careful supervision of Angelo. Listening to their music, there is the impression that an invisible thread of sounds is there to unite the various albums, marking an unique path, maybe from ever traced in their minds.
A constant sperimental impulse, filled of bright poetry and chilly electronic, makes this music one of the most intelligent chapters of these years, able like few to define the deep beauty that is in the frailty of the man.
In Eklipse Zwei mini cd of 93, all the anguish of our century lives, in the darkness of an eclipse that it seems never finish: soft light rays lost in the infinite night, statues stare nothing in the modern decadence in the disenchantment of an epoch that suffers more than ever the pain of living and the anguishful search of an identity. Our time hidden by an infinite eclipse chills in the soul's abyss, though in that sad chant it seems shine a soft light of hope, maybe a faith never lost.
The 1991 album Todesengel is a beautiful black flower. Considered a real masterpiace, it evidences definively the potentials of the band always more distant from the italian musical reality, and instead more easily leading to an european scene. Tosesengel... <<the fall of life>> is an album that strains torment anguish and fear: it opens these macabre dances the cover of Vienna of Ultravox, completely changed. A spectral doleful song takes possession always more of the music in the pulsating cardiac beats, and strains like the night the implacable singing of Angelo remaining a shiver enveloped in a beatiful torment. Other cover of the album is We Will Rock You of Queen. Here maintaining the original rhythmic they amuse with filtered voices and distorted guitars, in ten minutes and more of spectacular music to say little. From always K.C. plays various different covers with incredible results, able how they are to change a piece with light touches hit with art and making nice in a different light, that however maintains the original version in an extreme fusion. Ability in common maybe only with Bauhaus, dark band of eighties able to mix the punk hysteria with the tenebrous darkness of overflowing gothic music, leaving fall here and there on his tormentous road, made of dark sounds and anguish lyrics the most wonderful covers, as beautiful esotic flowers. Makes shivers the voice of Peter Murphy that lives on everything and anybody like a bat in the night.
The rest of the album proceeds in moments of soft light suffocated by overflowing darkness: the slow going generates spectral nightmares; every gesture, every movement is fixed waiting for a hope that seems never arrive. And to finish just two words about Ars Moriendi that surely is one of the more inspired things that K.C. have written. Here dominates the sound of organ and synth generating an intense religious atmosphere, that one that investes the people in the churchs and in the cemetaries... and the spirit flies high in the infinite light, so perfect!

  • La Notte

    <<I REMEMBER, I REMEMBER, WHAT DO YOU WANT FROM ME?>> (Nevermore, Verlaine)

    With (Erinnerung) the musical creativity of Angelo Bergamini seems arrived to a distinctive stadium of purity. Curtailed and naked, but without politenesses of bareness. It would seem born in this way, if some fold don't show the stopped parameters, some fallen branches. They are scars left by the memory, pictures of statues and monuments in background, as the Door of Branderburg oriental limit to the avenue UNTER DEN LINDEN, together the baroque Palace of Charlottenbourg, unique berlinese vestiges of the past, saved from the war. That remember the natal places of Lieder of Schubert: <<Lime-tree>> and <<At the Fountain out Door>>, but now they are only rare glitters in a picture composed by soul fragments. They stand to indicate how more music and truth there is in the nuances, instead in the contrasts. It arrives, so purified, this poetry, transparent but not without the tastes of a theater of the memory: Remember me: in its romantic anguish strenghted by chord instruments, it's with a generous and desperate passionality.
    Veronika Voss: it's a fluid picture, or better a mental act of insured of the private memories: suggestive in their simplicity. The song for piano (Memories are made of this) re-takes the fassbinderer Veronika Voss. Days of Laura Zero: it opens with the true voice of Adolf Hitler that is an effect explanation of the past, till signal the unbalance of the modern sensibility contended between the necessity to maintain the remembrance to conserve the beauty of life and impossibility to do it in front of the war horrors. It affirms, so, in the same name of Laura Zero the inevitableness of the year zero, in which is acceptable to see a painful re-born exile of the storical memory, parallel to the rebuilding of Berlin: city of present.
    Sea of memory: it's the chant of the remembrance that turns in water, sea, sound and flows among the fingers, in the mind, soaks our shoes and try to suffocate us to let emerge, pressing, questions that are desires:
    Where is my lover?
    Where is my father?
    repeats the voice of Emilia. Who listens to it once, never forget it.

  • Decus

  • Taken from:

  • English translation: Adalberto Orrigo