:Ritual: #17, 07/2004

FAR AWAY FROM THE PAIN

The important works need time. 'Invisible Front. 2005 is one of these, full of suggestions and themes, difficult to catch, but with an arcane fascination that illuminate it since the first listening. The travel of Kirlian Camera proceeds in another universe, in a world where the sensibility is a value and it doesn't matter if to arrive to it we need to across universes and galaxies. The message that appears among the words of Angelo and Elena is a deep call to defend one's own purest emotions from barbarity, to offer comfort and warmth before it's too late. The invisible front is everywhere and overpassing it means to get free forever of the vulgarity of a world dedicated only to the appearance.

Your new album strikes just by the title: 'Invisible Front. 2005'. If there is an invisible front there must be also something over it, but what or who?
E: The invisible front is a line that acrosses neither the life nor the death, that goes over any of our absurde pig existances. The truth surely is not in our lives. The man uses a strict part of his brani, especially somebody... but also a little part of his sensibility. Behind the transparent line but "barricaded", a place exists where the thoughts are pure and the silences mean more than many words. Here there is neither the serenity of Heaven, nor the anguish of the hell. Here there is only a way, that absolute one, against any form of animality and then against any form of ignorance. So, we look for the access, let's try to make the front visible... It remains only to decide.

Inside the title there is also an optics tied to the remembrance, quoting at the beginning and at the end of the album diary and memory. Can we speak about events still future for us but told by who already saw them?
E: Exactly. The beginning diary is a premonitory dream of a man, that comes totally absorbed by a new reality, where no common points with the earth exist, where the five sense have neither power, nor utility. Who saw everything will be not able to come back anymore; his new world will accompany him also after his death and his memories will belong to his new land forever. Everything was told in this diary nextly will form in this record till the goodbye piece, where parts of memories of a life that was terrestrial will open the road to episode so far away in time and space.

About the future, all the album seems to be a travel in the space, from the references to the planets, from the told stories, to the music itself. Is the universe where the reality tends to arrive?
E: Yes, all the pieces are tied among them and placed in the space, far away from the fancies and the lies that invade our planet. The same choice of particular sounds so pointed and alien, notwithstanding the rhythm, wants to give the sensation to the listener to travel in the cosmos together with the music, a sort of soundtrack for who wants disconnect for a moment from the terrestrial atmospheres and especially earthly. I would say that the reality one tends to it is the mental universe.

I remained very impressed by the concept on the basis of 'Nefertiti One'. I cannot give an answer to myself if it's more romantic and fascinanting the idea to make an universal homage to the physical female beauty or if this is an arrogant gesture this convinction that every being ever could be fascinated by the perfection for the human standards. What do you think about it?
E: Naturally this is not terrestrial localism! Let's say that, in a world that difficultly recognizes the true beauty, we wished to imagine the existance of superior places where such a concept could be understood at the best, and supported by a higher audience! Here a fine female body means a noble mind, a superior grade of sensibility and sensuality, from which comes out unavoidabily a total beauty. Who is in the condition to admire it just nobles his species. Our worrying, instead, is related to the fact that the beauty itself could exstinguish.

Moreover the woman is 33 years old, I don't deny to have immediately thought about Christ. There is some connection?
E: The link is absolute, as absolute is the need to find a life more spiritual than what we are living. Let's leave the religion, but just think about a man that was not believed in the moment when he was sacrifying for an extraordinary ideal. I like this: he is a kamikaze not to destroy, but in the attempt to open a new universal chapter. And this sense of sacrifice is exactly what link both of the two figures in object, two examples of beauty inadequate for the earth.

For example the atmospheres in 'The Path Of Flowers', moreover, seem more rarefied and melanchonic than in the last albums, as there was a comeback to the "feeling" of album like 'Schmerz'.
A: Yes, a comeback to tat "feeling", as you say, surely not at the sonorities, even if I must say that 'Schmerz' was born paradoxically in a less intense moment, more relaxing. Today most of the past works appear to me like a "preparation" to what would have happened with this record. 'Still Air' has been the first chapter of this third incarnation of the band, but also that work is not so relatable to 'Invisible Front'. I hardly listened to something more dramatic of this record ever, I feel to say this because it's not a compliment at all costs, because it was not written in loneliness as in past, but also by another person, that so much brought to this spirit, to this personal experience in the record.

'The Path Of Flowers' faces the theme of the loss and the uselessness of what we have or possess in the attempt to find again who is loved.
A: I wrote the lyrics to the music of Elena, thinking about an evening when a person started to celebrate the definitive absence of everything he loved and who there was not anymore. It was a projection, but it became unsustainable and endless. To try to remember the death itself of the hope is an isolament fact, unique, powerful, tragic. It's not true that 'till there is life there is hope', we cannot think at maximum systems... The hope will not bring to anything; being lost, and notwithstanding all to have the strength to fight against the injustice, will do. But then, who cares of this "hope", that's nothing else if not "survival". One should not survive at every cost. Who survives is an idiot. Added to these ideas there was the memory of a terrible and unavoidable sacrifice. I'm not only talking about separated pairs by the end of one of them. No, the concept is otherwhere: the grotesque world, the carnival that kills and laughs loud of your grief, till you vomit for the show of the ugliness coming from so much gloomy ingeniousness. The vulgarity of the carnival is not in the irreverence brought to the excess, but in the pretence to wonder someone. Satan is not the evil, Satan is a shit and stinks, as himself says. The evil is still more powerful and comes from another zone. Also in the Hell it exists the possibility to dedicate an evening to the gathering for a greater tragedy than the story itself, if one really wants. I don't know how and to who say that is better to have no fear anymore, not saving, not running away, not attacking. To be ready to die, always, in the memory of the light that we hardly saw, even it had been only a sunset. To be close to who loves us as it was the last minute, before it was late.

There is another female figure that I want to speak about: Jarboe. How was born the collaboration?
A: I like the work that Jarboe made alone and with the Swans, work in which I always feel to find "rage with sad face", a "pain in absence of symbols". Then, I spoke with Massimiliano of E.N.D.E. and he put me in contact with her. I asked her if she agreed to work on one or more tracks and she seemed happy. She sent a base with a rhythmic loop full of her various voices, on which we worked very much. Then we sent her a version of 'Kobna Dob' on which singing; this last collaboration will be released later, as complementary track of the mini-album 'K-oroner's-Pax'.

Come back to the past for a moment: what has changed in Kirlian Camera with the split of Emilia Lo Jacono?
A: It is not an easy topic. Let's say that Emilia was now oriented toward more careless climates and far from those that instead are very present today, more yet than in past, in KC. Her orientation toward the high lever South-American music was creating in me some doubts. She has her tastes, and it's correct that she prefers to listen something in line with her personal orientation that increased along the time, but we wanted to manage other topics, that we feel particularly close daily and we live. KC is an entity opened to experimentation and even to a certain contamination, we proved too, displeasing a lot of fans when it happened, and we took always the responsibility of it. The constrated times of 'Unidentified Light', for example, gave their positive and negative fruits, but both Elena and me, without denying anything, cannot continue in a direction that foresee always a great usage of contaminated language. Another problem was due to the job hours that Emilia must face every day and that keep her always more distant from the musical works. I needed a stable nucleus, true and especially of a person able to sing very well, but also to creare music and lyrics, to operate in the group according to an education code, capacity, awareness of language and much, much passion and sense of sacrifice. I found her. Today KC are a real band, of very motivated people, managed without a moment of abandon to the neglicence ever. It's very important our daily reality, unfortunatly so much extreme...

The last thing that I want to ask about 'IF.2005' concerns the pictures: the cover is darker and gloomy than the internal photos, that are radically different, why there is this difference? Which meaning could we reconduct to the picture in the cover?
E: Since when this record has entered in our heads, everything followed an unique path and, just before to focus the thoughts towards a particular moment of the album, the new material already interlaced with the previous, either musically that at the graphic level. Then, the picture cover is particularly tied to 'Nefertiti One', as gloomy and sufferent symbol/metaphora of beauty. In the booklet we have a different air, more peaceful and harmonious, to underline the constrast between two worlds: ours and this sort of second hereafter under the form of space environment, where the sacred and the beauty meet in an unique ray of truth.

Lux

English translation: Adalberto Orrigo