KIRLIAN CAMERA

EN

Kirlian Camera must be the longest living cult formation from Italy, which has achieved name and fame in the scene since the 1990s, but its first release actually dates back to 1981, the self-titled EP “Kirlian Camera”.

With “Radio Signals For The Dying”, the avant-garde collective around Angelo Bergamini and Elena Fossi returns to the fore after the 2021 album “Cold Pills (Scarlet Gate Of Toxic Daybreak), also released via Dependent. This newcomer is also released by Dependent and although the regular album is already a double album, in keeping with the Dependent tradition, there will also be an 'artbook' format (700 copies) with an extra third CD and book with lyrics and exclusive photo material. For the vinyl freaks, yes there is also a transparent red double vinyl version, limited to 500 copies.

But the key question is of course; what has Kirlian Camera created this time? Sweet candies or... Well, “Radio Signals For The Dying” is a typical album for these Italians, who combine their idiosyncratic melancholic and sometimes sensual pop with a kind of fine avant-garde that does not shy away from contemporary experimentation. I expected nothing less from Kirlian Camera. “Radio Signals For The Dying” is an album that needs several listens before it comes into its own, before the intensity and subtlety fully penetrate. An album that is, as always, carried by the sensual and slightly enchanting voice of front lady Elena Fossi.

A voice beautifully wrapped in idiosyncratic pop tunes such as the sensual “Stella Ominis”, “Goetter Geht Weg”, the beautiful “CRUD (Corpse Recovery Unit D)” or the dreamy future pop anthem “The Great Unknown”. Electronically controlled avant-garde pop that borrows from techno and light experiment. However, the beginning of “Radio Signals For The Dying” is rather dark with the deep “Il Tempo Profondo” (can be found later in a more accessible 'radio signals' version), while “Madre Nera” breathes neoclassical, something that also applies for the semi-acoustic footnote “Deleted Msg” or “Esilio”.

On songs like “Genocide Litanies”, “Luminous Shade”, “Homicide Aristocracy” or “We Have To Amputate” the more experimental and avant-garde side of Kirlian Camera emerges, to a greater or lesser extent. “Winter” is a cover ode to The Sound frontman Adrian Borland as only Kirlian Camera can deliver. There is no shortage of diversity, just to say the least.

“Radio Signals For The Dying” is a bit like any Kirlian Camera album, diving into ice-cold water. Taking the plunge is full of doubts, but somewhere you know deep down that once you have jumped, the water is always much warmer than you think and it is wonderful to float in the mass of water. Unfortunately I can't tell you anything about the extra disc that comes with the box version, except that it also contains 8 songs that every fan will undoubtedly enjoy. Pop with barbs, or subtle avant-garde experiment with a pop halo, the choice is yours. Fans won't be disappointed, neither will I. Great work but did I expect anything different?

Kurt INGELS
18/01/2024

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NL

U kan de Nederlanstalige versie van deze review HIER nalezen bij onze collega's van Dark Entries Magazine!

Kurt INGELS
18/01/2024

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