Refraktor fanzine, 01/2003
In January this year your new album "Still air" was
released. I had the impression, as if no one here in Germany get noticed
your new release. There were only a few reviews and hints in some
catalogues, but no more readable informations about "Still air". In the
bigger scene magazines - there were no interviews with Kirlian Camera, so
i would like to know, if you wanted to relased "Still air" quietly without
doing a lot of action or do you you think that no one here paid attention
for this release?
Well... I honestly must admit I have noticed no big difference between
today and yesterday's promotional activity, although it is true there is
certain silence from the media towards us since 1999, approximately, that
is just the period when a stronger campaign against KC started. Our audience
is today a bit larger than in the past, but managements, labels and
magazines could not care less about it, as they want to prove their
politically correct attitude to the various entities around. Let's make
an example... The whole euro-american tour has been cancelled, as well
as all of the other planned gigs due to this problem. All of the other
bands are more or less allowed to play... even naziskin bands are sometimes
allowed to perform alive: NOT US!!! Some antifascist organisations have
officially taken back their accusations, probably realizing none of us
is involved in any political activity, but... this is not enough, it seems.
The reason why this is happening is extremely clear, I think: we have no
friends excepts some "lonewolf" like us, as we do not like to be part of
any group, wing, party, society, club and buffooneries like those. This
is NOT a snob attitude: this is a horrible desert. Some "bravehearts" are
trying to give us some chances, so it seems this year we will be allowed
to hold two gigs in middle Europe, what a honour! I mean just one thing:
there has been a great promotional activity dedicated to KC... the only
bad point is that activity was against us! Somebody is used to telling
bullshits like "promotion is promotion: no matter if it is negative...".
No, it is not true, as a REAL negative campaign is enough to destroy a band.
Of course, that is not enough to destroy us.
This release has been out a few month, so I am
interested in getting to know, how this album was reflected by the
audience. Were there reactions and the critics for "Still air"?
Critics have been strangely very positive and sometimes some journalists
have even been writing this is our best album ever, as well as "Absentee
EP" is our best minialbum ever. Our audience looks undoubtely satisfied,
but I repeat... somebody starts thinking that listening to us is "too
uncorrect", so some damages are evident. Part of the musical press is
openly and UNDOUBTEDLY against us. No way out... we could release the
best music humanity ever made, but there is no chance to be listened
without prejudices. Making music is for us a real act of sincerity
and love, so sometimes it happens that somebody is somewhere ready
to accept this fact, but it is not so frequent.
What are the topics of the lyrics on "Still air"?
Lyrics talk about my last year, about its nightmares and its worrying
coming. It has not been a fine period. Lyrics look at it with no mercy;
I tried to analyse my times... as all this situation I am living is quite
unexplainable, and I could not succeed in putting it into focus because it
includes unusual elements. Lyrics talk about this delirium-like moment...
I thought that being more than 40 years old could be a good barrier against
nightmares, due to experience and rationality, but... sometimes it happens
that unexpected events bring one to further dangerous edges he was not
What can you tell us about "Still air"? How long
did the recording last? In which studio you recorded and mixed the album?
Sessions lasted almost one year. Emilia, Elena and I recorded basic tracks
in Parma and in Toskana, in our flats, Patrick Leagas did it in Liverpool.
Then we overdubbed sounds and mixed down the work at Ivano Bizzi's studio
near Reggio Emilia.
When composing, do you need a certain atmosphere
in the studio, to get in the right mood?
Yes, absolutely... and above all, no annoying people is welcome. The
studio must be relaxing and calm, as our stress is enough: no need to
increase it. The relationship between us is in those situations quite
kind but sometimes there is some unavoidable tension, as I am a bit
demanding, I suppose.
These days your new EP Absentee" has been released.
What is the meaning of the title "Absentee"? (Do you think of a
It refers to somebody who is somewhere around you but you cannot
succeed in seeing him/her. It is just a sense of separation, a sense
of being tore from somebody you love, you love with no limit but,
probably, you won't see that person anymore. A sort of a relationship
between you and somebody who is far from you, dead. The most important
entity you have ever known, lost forever. A bit sad... sorry.
What can you say about the three songs on the EP?
Were there not enough space for them on "Still air" or have these songs
been composed after the release of "Still air" and must now have been
The several previously unreleased tracks you refer to have been composed
a bit later, just a few days before STILL AIR saw the light, so it was
impossible to put them on the album. Anyway, I think it is better so,
since the newest songs have a slightly different atmosphere from the
album's one. "Absentee-EP" is much more than a mere appendix to "Still
air", but a really heart felt work apart, not totally so dependent from
its "big brother". The days we did record that mini-album were actually
intense and particular... "unforgettable" I should say.
Where do you take this creative energy, to work
permanent on new songs? Do you have sometimes a feeling of creative
emptiness, or has this never been a problem for you?
I am aided by my illness, called "Temporal Lobe Syndrome". This particular
form of epilepsy gives one creative inputs very often, as the Temporal Lobe
is the area dedicated to creativity, among other things... Anyhow, bloody
stories aside, I must say I live a particular life, so, unfortunately,
stimulations come continuously with no rest, and, believe me, sometimes
it is not that fun. There is a strong need to keep on researching, inside
me... avoiding to recycle old ways, as I have a real necessity to express
what I feel and see, using various languages to be mixed with mine, various
languages I deeply know, I suppose, able to stay balanced inside me, if
only possible. Simple analysys, one might think.
It seems to me that you have no pauses, and now
there has been released a book called "Kälte Container" and a remix album.
Did you thought about the idea for this book long time ago or has it been
a spontaneous idea releasing it? How important is this book for you and
why has it been released with such a small numberof copies (only 3000 books)?
This project is not to be strictly taken as a KC project, in fact it is
just an idea by the label we work with since the last year. They asked us
if we would agree to let them release an official book about us, three
years ago, and, since they looked really interested and involved in our
music, we accepted. Then they asked us if we liked the idea of being re-mixed
or covered by other bands, so to add a possible CD-album to the book, and
we answered we were not that sure about that acceptation, but they had
some good solutions and suggestions, so, at the end, we agreed with pleasure.
It is not a real tribute, as the actual tribute should come out next year
through a german label, although I do not know so much about it. Regarding
"Kälte Container"... I must say we like it with no doubt at all, as some
re-interpretations sound beautiful and have real 'feeling'. We did not
care about graphics and global concept; we only gave a helping hand to
contact some of the artists involved in. There are only 3000 copies of
the standard book+CD issue as I suppose the label did not like to make
a standard deal... but in the beginning 998 boxes were available too
(including an additional CD, poster and t-shirt) too. They are now sold
out, but the digipak-CD is still available. Probably, given that there
is a certain interest about this project, the label might decide to
release some additional copies on vinyl including some additional bands,
but I am not that sure... we have not confirmed that version, yet. We'll
Is this remix CD only available with the sampler,
or will this album be available without the book?
The standard CD in question is now available on Digipak, as said above,
but the additional MCD titled "Der Blaue Container", included in the
box-set version, won't be released anymore.
How did get to know the idea to this remix album?
Which remix on the cd is your favourite?
Some of the tracks are re-mixes and some of them are just covers. Each
band was free to choose the way it liked. I honestly must say I like all
of the versions included in the work, as that track-list is just the
result of a selection excluding several anyway-fine bands. A completely
unknown band like Zosma impressed me very much, as their "Helden Platz"
sounds fresh and well-done, above all if one realizes they have been the
first in delivering the master, time ago. It is two italian guys with a
canadian girl. I appreciate a lot the stuffs by Wumpscut, Naevus, Sword
Volcano Complex, Shining Vril. The versions made by Andrew King and
Leutha on the special MCD are doubtlessly original, and the electronic
programming by Sixth Comm, Manipulation and T.A.C. is great. Allerseelen's
version too... and, in general, all of the other ones. Yes, saying what's
my favourite title is a hard job, as I repeat the songs have been chosen
among several proposals. I would like to clarify one point: there is an
entity called "Ultima Thule" on the special CD included in the box, but
it is uncorrect, as the actual name of that band is "Ultima Thule N", not
to be mistaken with similarily-named bands.
Isn't it a strange feeling hearing the own songs
in different versions? Do you see your songs from another point of view
in such a case?
Yes, sometimes some version sound strange, especially the ones by
Collection D'Arnell-Andrea, Naevus and Zosma, but I like their
interpretations very, very much, as they have something original and
a real touch of class, which is not that usual, in the underground too.
This album is often on my CD-player, as it sounds like a fine and
non-boring compilation, to me. I do not think it is the same old poor
stuff: all of the bands did great things. The only song I find bad is
just Kirlian Camera's "Blue Room", do not you agree?!?
Do you have searched for musicians, which remixed
your songs, or how was the contact established?
Most of the bands have been suggested by the label time ago, then we
added some names like Sixth Comm, Wumpscut, Leutha, Zosma, etc... and
supervisioned everything with label manager Massimiliano Medagli
throughout more than one year.
Is there a certain gain, that you are try to
reach with your kind of music?
Our making music is a sort of therapy to avoid being continuously
in contact with the outside world. We are in touch with it enough...
Making music is like keeping a flat clean, or putting cloth and napkin
on the table even if you are alone, so to wait for terrible dreams and
memories, sometimes. So to talk with them, surrounded by a poor but
"pure" and silent environment. Making music is the last desperate chance
to concentrate ourselves on uncomfortable or "particular" things, trying
to talk about them... to talk about those unspeakable themes that a
certain appreciable reserve or shame deny to bring to light.
Without any question you are in Germany very
popular, but how popular is Kirlian Camera in other European countries
and countries out of Europe?
Germany is probably the Country which appreciates us more, but also
in some other lands there are people listening to us, especially in
the Russian areas, Italy, France, Switzerland, Benelux and eastern
Europe in general. Something is happening in the U.S.A. and Canada,
too, but globally I frankly must admit many people is trying to silence
us everywhere, all over the world. In Germany too, unfortunately.
You are always been accused of sympathizing with
National Sozialismlismus. Isn't it very tiring to justify themselves on
and on and say correct things, but some people never understand?
There are no words enough to explain how strong the campaign against us
has been. People do not know everything. It is true that somebody, in
the last times, is trying to take back accusations, but the situation
remains the same. All of the bands around are performing all over the
planet, often spreading bullshits and instigating their audience to act
idiot... We are not allowed to play live, when even ultra-extremist
groups are allowed to! Everybody moans if somebody cancels one date
of their tours due to public order problems... Our tour has been
TOTALLY CANCELLED!!!! We are trying to come back performing, trying
with all our strenght to meet our audience again... We'll do the best
we can and even more. We are trying to win against something too
strong, too overwhelming. We risk to waste every release, every
effort we have been doing throughout time, our health itself. It
is hard... This moment is really hard to bear. I won't add anything
more, as somebody somewhere surely realizes what I mean.
What do you think, why is Kirlian Camera being
forced in the right edge? Do you have to fight with this judgement only
in Germany, or is this also the case in other countries?
I think Benelux is the worst place, for us. Our audience keeps on
trying to bring us there since time, but it seems that even local
police does not like that idea, even if there are no confirmations.
That is absurd. There have never been any clashes, during our shows!!
No comment to say. Other Countries are starting to bring us noise,
Italy among the others. It is unexplainable. We never did the things
we are accused of, I must repeat for the umpteenth time. Even musical
bands are now spreading bullshits against us, so to earn some poor
idiot propaganda from that. What a bunch of saints and hi-quality
brains!!! I want to call them GIGABRAINS!!! "Thanks pigs", as I have
already said 2 years ago in an album...
I would like to ask you now some personal questions.
First, I would like to know, what you (Angelo Bergamini) are doing,
when you are not working for Kirlian Camera. How appears a normal day
When I have free time to spend, then I am used to quarrelling with
people down in the streets, ah, ah, ah!!! Jokes aside (?), I like to
watch movies, or simply watch the walls of a room, trying to forget
everything, in vain. Sometimes I simply like to think about something.
I do not need anything in particular. I do not like to spend time
along with other people and I avoid crowded places, if only possible...
but it seems it is not so possible, especially when one is not rich
enough to buy a place able to fulfil his need. I am not used to sleeping
so much, but I promise sooner or later I'll be sleeping a lot, so to
give more fun to the arse-hole faces I see everything around. The
whole world in 3 "F": fun, fucking, farting. That's the reason why
we are alive, I could swear it, right? Well, am I getting sane? Am
I allowed to perform alive, now? Am I equal to all of the other babies???
Do you remember Kirlian Camera the first time on
stage? Which memories do you have on that?
Yes, it has been a delirium, as usual. It was the Gay Pride Day: we did
start playing a sort of a funeral march filled with annoying-frequency
sounds, all dressed in black, ah, ah, ah!!! Audience started insulting
us and screaming aloud as they did not want us on stage any longer. It
was a bloody chaos. We suspended the performance and it started a sort
of a quarrelling between two parts of the audience: one wanted us on
stage again and the other one kept on saying we were a bunch of paranoids
with no hope, probably with a certain reason. At the end, all of the
audience was calling us on stage again, but we did not accept the
invitation: "too late" I said. I had no that great sense of humour, at
How was your first contact with music?
I was living in big city called Turin. Had no friends at all. My daddy
had a small unprofessional recorder.... I started recording noises, my
words, sounds from a destroyed acoustic guitar. It was 1967-68, more or
Taken from: http://www.vegaland.de