Rosa Selvaggia #XXVIII, 05/2004

On the invisible front of winter

1. The new release of Kirlian Camera, "Invisible Front, 2005" should be out soon via Trisol. Looking back is impossible to not notice that much, very much time has passed since the release of "Still Air". Could you tell us something about the birth of the new record? Why did you make to wait your fans for so much?
ANGELO - We released many records, in the past of the group, but a few albums. This time, since the last official release of unreleased material three years have passed, years spent to put ahead different projects: Stalingrad me and Elena and Siderartica, only Elena. Meanwhile we continued to think also about a new Kirlian Camera release, but it had to be something special, at least for us, I mean the most beautiful album of our history. It could have been different. We couldn't accept the opposite... the new record had to have everything we were unable to realize in past. We needed maximum concentration and, considering the times, this was not easy, so... we thrashed away the demo of an entire album, a complete project (called "Where's the trick") and we started again. Little by little "Invisible Front. 2005" was borning, without that we, at least at the beginning, noticed it. We didn't have any dead-line. In the same time we tried to play concerts, which ones, little by little, becoming always more "indipendent factors". Again, I must say that we were changing label and the passage to Trisol made us spending some time more than expected, due the series of troubles that it brought behind for a little clear second contract caused by debatable Italian-German relationships concerning incomings report by show operators. Now everything is resolved more or less, also thanks to the same label, but if this was not enough the mastering of the final result took two months and more than sixty masters - realized in various studios - literally thrashed away as they were not good, as the people work with their asses, lately, notwithstanding that "professional air". Everything has been very strange: more we wanted total concentration, more our days went bad of our absence for their stupid request of attentions and... create continuous problems. Then the concentration became denser, total, absolute, desperate. We put a barrier between us and the passing days, trying to not believe to their heaviness. There was a tremendous strength, that never abandoned us. We are impreganted of it, now and... fortunatly or unfortunatly I don't believe that we can return back. Also the psychiatrist got ill!

2. So it is an album that's a sort of new beginning... how much different are Kirlian Camera from the group that record for Discordia / Triton?
ANGELO - This new beginning started since 2000, year when we worked on "Still air" and "Absentee - ep", in fact, sometimes, the monicker 'MK3' sided the original name, just to underline that something, effectively, was happening, even if with discretion. Today KC are different from those of '90s as they are more involved in what they do. We were not 'distant' in that time, but it was almost a solo project where three or four friends sometimes meet together among dinners and some attempts. Saying this, I believe to hurt nobody. In the '90s then I set the future of this group, with the help of very good companions. Today I have the band of my dreams, that is a group "in full time", trained, genuinely "romantic" concerning... passionate extremism!

3. A very long way! Do you regret to have done something along this road?
ANGELO - I regret to have given help to many idiot bands to see the light. Too much envy, moreover badly addressed, as result. I don't know even how some people can live...

4. Are all the problems that afflicted you recently to be considered totally resolved? At the light of the current situation, how is KC today (in studio, on stage, for label)?
ANGELO - Both I and Elena are the persons who manage to write music, lyrics, to do arrangements and production, I mean pratically everything apart the final mixing, that usually it's done by Elena only, who is able to "put out" the sounds at their best. Then we have some collaborators to be used as reference for what concerns especially the concerts and also the little helps in studio. For the moment, on the stage we have Simone Mulé (guitars and synths), Andrea Fossi (taken from Siderartica - synths), Lydia Dumfeh (synths), Mia Karin Egger (synths) and others... In studio, now we have short collaborations with Jarboe (Swans), Lloyd James (Naevus) and Patrick Leagas (Sixth Comm/ex-Death In June) and the remix continues to be done substantially by Simon Balestrazzi (T.A.C.), Rudy Ratzinger (:Wumpscut:) and Leonardo Von Leibnitz (Y-Lu-Ko / Emotional Violence), when they are not done by ourselves. Other persons are "behind the barricade", helping with not official but useful sites, like Adalberto Orrigo and Enrico Eisert... others quicken the mail when we are on leaving... Many people, then, but most of the work is clearly developed by both of us, that go to sleep regularly at the 4 am and wake up at 9 am. We want to manage personally everything very much. By the way, Elena should open a label, in a short while, so personally manage the bands (especially KC, Stalingrad and Siderartica), with my help. For what concerns the problems connected to KC... The polical structure mixed and balanced - in the worst way, in negative way - of the western world, needs to frame KC and the other realities as "destabilizing", in fact, having values and being not so "careless"... Today the finger is pointed against the heavy entity, except if these ones burp every two minutes and are identified as "third world sympathizers by convenience". Left-wing and right-wing plays their game, in this: they were able to create this situation, where if one thinks and even dares to laugh sometimes he is dangerous. And they are right! They told us that we are here to corrupt the "healthy european youth!!!". It's the delirium tremens, now... Or the "omnipotence delirium" too, because this people is... a bit "almighty", unfortunatly. I can only say that until a move like "Passion" will be accused of antisemitism... we will have problems. And many.

5. Rumours say that the new record will be accompanied by a good amount of singles; one of these in particular strikes our imagination for its name "Dead Zone in the Sky". Could you tell to our readers which "the dead zone in the sky" is"?
ELENA - The human beings bases their existance on dimensionality. Everything is dimension, everything is done in a limited place, just in a dimension. The dead zone in the sky, instead, represents a dimensional absence, that, sometimes, could be perceivable by who is in hallucinatory states. Here there is no trace of everything we are used to see. It's a zone that permeates of the form of the souls of who is able to enter in it. It keeps the past and then the memories returning nothing back. There is no return to life. But if weren't they be only "hallucinatory states"? And if some people could see places that are sci-fi for others? Then, the dead zone in the sky would be the border between science and madness, it would be the threshold that goes over the impossible. All in all the invisible front is such thing only for who doesn't want to see it!

6. Classic question: what there is in the future of Kirlian Camera now?
ELENA - We will try to intensify at maximum our live presence and in the next time we will extract a double album, available als in DVD and VHS as video, that will be the first official live of the band. However for that project there is time, because now we are very busy for the work behind the last album - that is undoubtlessly our main goal - which will have also further musical developments. In this moment we planned the release of two e.p. just related to "Invisible Front. 2005". The first one, "Dead zone in the sky" will be out I think in late Spring and the second one "K-oroner's-Pax" should be released in September. All the new works by KC will be licensed by the German Trisol Records in collaboration with our private label United Gladiators Inc. and distribuited by EFA, Audioglobe, E.M.I. for what concerns Europe, by the same Trisol in U.S.A., and then pressed in Russia by Irond Corporation. Meanwhile, "Berliner Messe" is going to be released, that is a short picture-disc vinyl single limited to only 150 copies for the Italian Small Voices, that features two electronic previously unreleased tracks made recently, but not related to the album; just an extemporaneous thing, then. The official bootleg "Live in London" of Kirlian Camera & Stalingrad is available in the merchandise stand during the concerts of the bands since 5th March, date of Gent/Belgium gig. Then, apart, I'm finally leaving the Masked Man a bit quieter, I'm finishing to mix the new album of Siderartica titled "Shapes and colours from the land of God", that should be out in September always for Trisol Records, with the distribution above-mentioned for KC. Concerning Stalingrad, the new album will be out along the time, with no hurry. We believe it will be released by the English label Cold Spring or with Trisol, we will see. No hurry, however... Angelo and me worked a lot, in these last years of relative "silence" and then, after so many recordings done during this time... now it's the time to return on stage!

7. Please satisfy a couple of curiosities about some songs: continuing to listen to "Still Air", one of the tracks that mostly strikes us is "Helma nah' shmarr", that seems to mix traditional elements with the purest kirlian-style. Could you tell us how that song was born? What does it speak about?
ANGELO - We worked on this song and on the album you mentioned almost like an exorcism of the climates of "Unidentified Light". We liked this one, really... but I believe that Elena began to adapt more to the group just thanks to "Still air", not liking so much the direction sometimes "jazz-oriented" of the previous work. "HNS" was born like a kind of a reversed mantra. It's not a satanic hymn, but it's full of "obscure" meanings, as the world were seen by a negative sea and aware of its own "distance". The words seem completely invented instead some of them reports also echoes of names linked to the so-called infernal hierarchy. It's like a prayer, a psalm of despair, full of "reversed" beatitude, but not for this forgetful of the truth and the light.

8. And in second place, recently you recorded a cover of the early Pink Floyd ("Julia Dream", released on the sampler "Songs for Landeric" of Cynfeirdd). Fifteen years ago it happened with "Epitaph", written by King Crimson: a simply coincidence, or the prog rock and psychedelic scene of those years influenced you in some way?
ANGELO - There were some musical passages, in the progressive bands, that almost gave the push to the birth of this band. In fact, KC was not born by American rock, exactly. The progressive bands were the first to dramatize the new sound of the epoch, then there was some new-wave even if with different concepts, then some example of 'new-electronica' in the '90s. For the moment, to find something vaguely interesting could be a problem with hard solution! I love Pink Floyd more than any other group, however... even if the first album of the American Pavlov's Dog, of 1976, was really good.

9. Angelo, you are on stage since 25 years with Kirlian Camera and you lived surely not easy situations. Did you have a moment where you thought to stop?
ANGELO - I had that moment twice, apart every time I see the face of the idiots playing around. However, the first crisis was in 1978, because notwithstanding I was very interested to the new wave punk-wave I was not so involved in the nihilist spirit of the many connected to that area. I had very "clear" values to put in music and, sometimes, I felt they were not asked. Then I stopped to play for a couple of years, because I was interested to that movement and the sounds coming from it, but I hardly accepted the rules of the scene in the matter... Then Joy Division released "Closer" and Ultravox released "Vienna" and I understood that, even if I don't like everything of that records, maybe there was somebody more similar to me and then I began again, also because what I was doing was very similar to what those bands was playing in that moment and this... impressed me and also bothered me a bit, AH, AH, AH!!!. The second time happened very later, in 1999: I didn't want to stop, but KC was "going out of my hand": too many pressures, stress, misunderstandings and, sometimes, also little internal cohesion. I wanted to change the name of the band, but Elena asked me to think better and this thing made me pleasure too... so KC is here today, very, very motivated and united as it has never been possible before, FINALLY!

10. Angelo, Elena, thanks for the interview. Would you like to leave a final message for our readers?
ELENA, ANGELO and KC FAMILY - Give a look to Europa, the satellite of Jupiter.

  • Oflorenz e i lupi di Winhall

  • English translation: Adalberto Orrigo