Kronic web-zine, 06/2006

Till the end of the world
The creature of Angelo Bergamini and Elena Fossi gives an exclusive to Kronic

Till the Colosseum will be a turistic place and not a shrine... we will scream
Only the great bands are able to make talk about themselves, only the great bands can surprise and forestall with any new album. Kirlian Camera belongs to this club for sure, because it is a high-race band that doesn't speak to the wind but calibrates very well what it wants to say and to who. There are not useless or superficial declarations, there is only a surgical clearness of who knows what want and has the bravery of its own ideas. 'Coroner's Sun' is like who composed it: difficult, forestalled but sincere. It needs several listenings to be understood, but it has the great merit to be not a banal work, it's felt music that transmit emotions. We came back to talk to Angelo Bergamini about his creature, the new evolution of Kirlian, how much the role of Elena Fossi is important inside the band and how quickly the human race is sinking. The questions were made by an unstable guy, the answers are those of who has no trouble to say the truth and for this he deserves always our respect.

The first thing we can notice taking 'Coroner's Sun' by the hand is the visual impact, I mean that, differently from the past, in the cover we see you and you are seeing the audience. Voluntary choice or casualness? In my opinion it seems a strong way, and right, to set in front of the audience, of the people in general.
A bit unreleased, as choice, yes. This time I really wanted that the cover gave hospitality to us, at least in the second edition, that could be standardized then, if Trisol follows our advice. I think you understood the meaning of such choice.

By the way in the cover there is also a 3. Could it be defined the third incarnation/version of Kirlian Camera?
Yes, it refers to the third and definitive incarnation of KC, that one I love and I feel as the most representative. It's beautiful to show a so positive and strong number. It has a bright character, as who uses it. In this case.

I can say that musically I needed several listenings to understand it very well. In some way it seems to me that your musical research has changed comparing the previous 'Invisible Front': 'Coroner's Sun' seemed to me more "liquid" in some way. What do you think?
"Coroner's Sun" allows more than the previous album did. It's a decisive, fierce work. It would seem "final", even by the title. It experiments the wish to build and not to do acrobatic flyings tasting like fillers. Melody, passion, rage... I'm proud of it. Many liked it very much, others didn't. It's not a record that can make agree everyone and so it's making discussing. Discussions are allowed. We did what we had to do and wanted to do. The others' opinion, for me, it's useless now. We are not democratics, we don't believe in the discussion when it's given by default and we don't allow it by pressure. The Red Cross is located at another address.

'Kaczynski Code' has strong techno trance influences and it's coldest. We could say that it follows a musical path already existing in Kirlian Camera (in 'Solaris' for example) but saw again in a point of view tied to the fear and the anguish of the discovery of human failure?
Yes, it was born from Solaris and it meets a techno with the consolidated, standardized taste, then on it there are more industrial sounds, in the ending. The use of the voice remains atypical instead, like its recording, done in more layers on the tape, in real time, always partially deleting what already existed, in an almost random way, till the definitive result that is a whole of phrases sung in various different moments.

About tension: 'Illegal Apology...' is a "sharp" song. Would you like to tell us the meaning of this track?
Lyrics are a little manifesto of what could happen when somebody thought the the sun lost even too much time to bright in the sky. Time to leave the last word to the ice, to clean the world by the flies. In which way are we involved by this? We are involved. A second chapter will be out soon, under the form of "fanciful communicate", if some magazine will accept it. Otherwise it doesn't matter. Nothing stops what has to happen.

Could you tell me how were born the symphonic synths at the end of 'No One Remained'?
The aim was to give a back singing made of not human lyricism, so instrumental of course, but also a bit "vocal", to the voice of Elena. There are in fact virtual strings and an almost singing Moog. This is the song of KC I love most, in the moment, in general. Unfortunatly I didn't compose it, but Elena herself. When I talk about denied access to democracy I don't say to avoid the objectivity, however.

One of the aspects that hit me very much is the ghost of emotions that transpares from your music: it's like that sometimes there is an internal peace sense that is almost now completely deleted by a strongest background anguish. Do you agree? Could we say that it represents the situation of the humanity, that closes its eyes to unknown and be serene but when it opens them it discovers how much the reality is terrible?
Federico, it seems you really listened to the record! Are there critics that do this yet? Will you be crazy maybe?!? Your mental states aparte, the first half of your interpretation is the one I like more, where you don't talk about general humanity. The internal peace in KC has been always existing, but... it's that we cannot rest, till we don't attack what we consider negative, until we eliminate it. It's heavy. You have fear and desire to relax, to see those "angles of paradise you perceived and that maybe you won't see anymore. But you don't want to stop the war you are doing in the name of something you love more than your life.

Sometimes there is some rage in the singing apart the disenchantment, where does it come from? How are you still able to scream?
How many tears and screams are repressed in us... So many things to make explode the eardrums to God and Lucifer together. Till the Colosseum will be a turistic place and not a shrine... we will scream. For the tears, those real... other times will come. For the moment we cannot.

One of the elements I always like in your works is the research and the cure of the sounds. Were there new shrewdness in 'Coroner's Sun' that brought you to such definition and deepth level?
We continue to use neither pc nor mac, till humanly possible. Just not for "labelling", as for funny and satisfaction, childish, maybe, the last one. We always try to convert the raw sound in "pictures of what we should like to listen to", what that, for example, in the soundtracks of some movies impacted us, but that... wasn't too much effective yet, for our dream. We have little common methods, as work... very raw and, however, I believe very interactive with the machines, till to make us permeate, till conduct them in mutual worlds.

Inside the concept there is the parallelism between the human evolution/involution and that one of the machine, but why will the machines overpass the man? Which will be the element that make them win?
They already won, the machines of the stupid men. In fact, we talk about machines conceived and used stupidly, so Ted Kaczynski too, the only real Unabomber. The man will delegate to the machines the decisions he won't be able to take anymore. With the fear to be wrong, fear sometimes fomented by cruelest and really little intelligent societal/firm apparatus', whose many will subdue themselves with the dream to reach a socially prestigious position. We talk, however, of a society at the complete collapse... There isn't the true individual prestige, in this society, that one personalized and hard that I would call dignity and that sometimes holds up the mirror of the toilet. Too much self-pity, too much negativeness and too many cryings guaranteed by a "titanic democracy", tyrannical and in partnership with the masonic powers shared by left-wing and right-wing politics, playing with technological progresses of unknown origin... You must not use technologies that you cannot use! In fact it's possible to use a machine, but often you can't understand how it is made, by who and especially... for which real reason. There is awareness nowhere and people chatter about things that almost you cannot humanly analyze. The western world is believing in its own technological supremacy as final victory and, then, is losing.
There isn't really an evident and bright dignity of this "western world". The islamic people noticed it and wants our architectures. They can amuse themselves. It's too late always for them. We don't have this problem: we have K-Pax.

What will the humanity see turning back at one second by the end?
What do you want they do?!? They'll cry. They always cry...

Which is your greatest fear?
To be forced to kill to be understood.

Any album of yours is rich of presents too; in this case there is a second cd with remixes included one made by :wumpscut:. As it's not your first collaboration with him do you want to tell us what link you to Rudy?
It's possible that we are a bit affectionate due to a very nice meeting in 1994, I don't know. I know that I like him for what regards his kind of music, especially when he goes in a bit aggressive directions. He's good. For what concerns me, I don't believe to be nice to him, but this is not my speciality. I think we respect each other.

How was born the partecipation to 'Saw II'? What did you push to collaborate?
The need of promotion convinced us to take part of the second edition. We composed the music thinking about Dario Argento, instead, or to some gothic movies like "The Abominable DR. Phibes". "Saw II"... Michael Haneke is really more disquieting without purchasing cans of blood. We didn't respected the script of the movie.

  • Federico Tozzi

  • Taken from:

  • Italian translation: Adalberto Orrigo - 19.01.2007