Mescalina Musica Live, 03/2002


We leave an insistent rain, not even too much troublesome to accompany us to the entering of the club. Inside the exhibition of the roman trio XP8 is already began: pure techno energy sublimated by a monotonous voice to introduce in the better way to the climate of the evening. It's the DJ that introduces with a gust of industrial classics the return of Kirlian Camera, absents since many years from live milanese nights.
The enthusiasm of the numerous audience welcomes a memorable appearance. With balaclavas and ambiguous clothes, evocative of less reassuring scenarioes, the three side in front of the stage. The voice of Angelo Bergamini, the only leader survived of the original line-up and true deus ex machina of the band, reads with deep involving a list of dates of '900: symbolic and provocative accusation act against the hypocrisies of our story. The given impact is martial. I never watched till now to their concert, but I don't deny to understand the attacks moved from some critic based on a superficial interpretation of a intentionally doubtful image. The curiosity comes proded by this introduction, and definitively satisfied by a dark and variegated live-act. If in fact it's dark the vocation to a cold and sick electronic, dispensed from the three essential positions on stage, variegated is the set-list, that tries to put near different episodies of a now twenty-year carrier.
So it comes an exhibition that goes along again also discontinuously the evolutive parable of the band, firstly given by the constant research of an exclusive sound model. If then the obsessive beat of songs like "Solaris" gains depth due to a hand and involving interpretation, it's the wonderful voice of Elena to enrich of charm the glacial atmospheres of "In the endless rain" and make us fly high with the classic of 1985 "Blue room", whose melody kidnaps and emotionates. The harmony of the band is compact, thanks to learned work that the controversial and troubled personality of Angelo Bergamini is able to organize. It's him in fact that decides times and ways of the set, as well as he leaves the stage to an unexpected cover of "Atmosphere" of Joy Division, here played in a dreaming and disquieting version. His return, finally without balaclava, will see him playing the epic "Fields of sunset" with a memorable interpretation, helped by the acoustic guitar of Andrea Savelli.
Subsequently really remarkable the versions of that EBM jewel called "The desert inside", here played without the female voice to exalt the darkness and "Eclipse" in bis, to remark the double role of first place that Kirlian Camera internationally gained in the '80s inside the dance scene and recently in the melanchonic and poetic electronic scene, never resulting irksome or for elite. For these reasons we must recognize that the leader owns a costancy and tenaciousness with few rivals actually in the scene.
The band greets and takes its' leave from its audience, that only after long and repeated requests convinces the three to return on stage with the hardest "Erinnerung". The audience goes in raptures, and a prolonged shake crosses the backbone of Binario Zero. It's impossible to remain still, Angelo Bergamini now without voice screams his last anguish in the microphone, while all the public moves tirelessly following the rhythm of his words.
The gig is over. We gain the exit of the club. Outside the rain doesn't stop to fall. We are overwhelmed from its roaring, as kidnapped by new synthetical starlings.

  • Andrea Salvi

  • Taken from:

  • English translation: Adalberto Orrigo