Kirlian Camera ‎– Pictures From Eternity - Bilder Aus Der Ewigkeit

Label:
Discordia ‎– DISC 082 CD
Format:
CD, Album
Country:
Released:
Genre:
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Tracklist Hide Credits

1 Ascension 5:25
2 I Am The Light 3:49
3 Nimetön Kirje 1:56
4 Your Face In The Sun 6:37
5 Kaalk 5:27
6 Die Vergessenen 0:48
7 Wasted Bridges 4:06
8 The End Of The Day
Music By, Words By – Simon Balestrazzi
3:37
9 USSR 1972 3:16
10 Along The Avenues Of Hell
Music By, Words By – K. C.*, Limbo
6:00
11 Ascension - Kuolema 5:16
12 Meine Nächte Sind Heiser Zerschrien ...
Words By – Ernst Wilhelm Lotz
5:14
13 Berlin VIII
Words By – Georg Heym
4:05
14 Tauko 4:18

Credits

  • Acoustic Guitar [Eko 12-string], Synthesizer [Arp Odyssey, Korg Ms-10], Featuring [Treatments], Instruments [Metal Sheet], Programmed By, Engineer, Sleeve [Sleeve Design]Simon Balestrazzi
  • Featuring [Additional Sounds]Imar Zeda
  • Lead Vocals, Backing Vocals, Synthesizer [Ppg 2.2, Ensoniq Eps-16 Plus], Photography By [Photos]Emilia Lo Jacono
  • Lyrics ByAngelo Bergamini (tracks: 1 to 7, 9, 11, 14)
  • Mastered ByIvano Bizzi
  • Synthesizer [Akai S-950]Gianluca Becuzzi (tracks: 10)
  • Vocals, Vocals [Treated], Synthesizer [Roland Juno-60 With Md8, Ensoniq Eps-16 Plus, Roland Sh-101, Novation Bass Station, Korg Ms-10, Korg Dvp-i, Yamaha Pss-790, Korg X-5], Other [Radios], Melodica [Hohner], Sampler, Featuring [Treatments], Programmed By, EngineerAngelo Bergamini
  • Written-ByAngelo Bergamini (tracks: 1 to 7, 9, 11 to 14)

Notes

"Meine Nächte Sind Heiser Zerschrien ..." composed in 1981, rewritten and rearranged in April 1996. Previously unreleased.

Recorded February - June 1996 at Uranium Studion (Parma, Italy).
Mastered at Suono & Immagine (Ponte Enza, RE, Italy).

First limited edition released in a digipak.
This is the second edition and was released in a standard jewelcase.

Comes with a 12 page lyric-booklet.

Barcode and Other Identifiers

  • Barcode: 4 017030 125203
  • Label Code: LC 7802
  • Other (Best.Nr. (Reference Number)): 00000

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May 28, 2012
An album very much recorded during the period of "Your Face In The Sun" (the single appears on this very album) - much of the music here is very much in the same compositional vein. The opener, a fine ballad built on the bright, snappy gated drum style HUMAN LEAGUE used on their first two classic albums - keyboard strings & harmonic voice chords wash over while the sweetly sad female voice reaches deep inside to touch the heartstrings - as hollow as terminal loss, as optimistic as the post-Apocalyptic Human spirit. The next track magnifies their curious blend of the beauteous & the experimental - what passes for percussion - a high, hinge - in - need - of - oiling noise sits uneasily with what is otherwise a slow, trance-state ballad, managing to warm & chill you simultaneously. Their fondness for the strange comes through for the third track's back-masked spoken voice which spits-in-tongues staccato phrases over lulling chords. The single "Your Face..." still sounds beautifully sad, here more logically situated in an album of similar songs - see MJ#1 for our full review. Turning from lush ballads to a more overtly electronic, almost downtempo EBM sound for the next track, they still inject their distinct soft themes into the music, with the melodica almost fooling the listener with it's sax-like sound. From here they make a brief foray into orchestral music before returning with another two touching songs, the first set against rich chord layers while the next against strumming guitar & rich keyboards. The feelings they stir inside, of howling loneliness and lost time touch deep. Ampnoise & machine throbbing herald the entry of the next track, and indeed a direction change for the remaining album. As strangely chilling as anything to ever come out of the Death Factory itself. Rising out of this cold noise-scape comes the humanlessness of "Along The Avenues Of Hell" - swathed in TG-iced electronics with "Terminator" drums glinting through here & there, it snatches all the warmth which the previous ballads had brought and slaps dread in it's place. The next track leads you further into corridors clawed by Industrial's incalculable myriad entities, an arctic electronic journey through uncompromising dehumanised rhythm. With mid-rate BPM enters the next piece - aiming at the Euro-Electronica dance scene, this utilises stern keyboards and strident drums, forging a bloodless sub-Techno sound. "Berlin VIII" is a strange blend of horror-house organ, watery percussion, fattened harpsichord and guttural almost spoken voice - heartfelt but somehow almost ritualistic. The final piece visits yet another Industrial post, the electronics burning with fuzz-friction while madhouse chords scale from basement to attic. An effective, creepy track, again hearkening towards film-score soundtrack. Choir voices blend with the buzzing fuzz of wild electronics. This is a good document of what KIRLIAN CAMERA were doing back in '96 - definitely an album of two halves, the first heartfelt & warm, the second a more cold, experimental/electronic sound. A schizophrenic blend of melancholia & lab-slab post-human pragmatism.

Originally reviewed for Soft Watch.