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The Full Interview

June 04, 2011

Here’s the full interview we did for Ritual Magazine. Questions by Paolo Bertazzoni.

What can you tell us about your project? How and when did it start and what are its aims?

We don’t consider it to be a project and we couldn’t give you a start date. We can certainly say that in 2007 we started a process of detachment from the social and cultural context in which we lived which was both natural and spontaneous, saying no to the banality and repetitiveness of those days.

In that case, what is the significance of your name?

We read it in a medical journal which listed the four stages preceding death. Our name is the last stage, but let’s be clear, it wasn’t chosen to be macabre… We are fascinated by the idea that it is both the best and the worst moment of our existence. And what’s even more mysterious is that nobody can describe what happens at that moment, nobody can say how it feels.

“We Don’t Drink, We Don’t Take Drugs, We Don’t Have Sex, We Feel Compassion”… the title of your EP seems more like a manifesto… what can you tell us about it?

The idea of being dependent, in need of these things constantly to feel more alive, to have more fun, to be accepted by a group and not excluded. The terror of loneliness, to be a victim, the search for social acceptance, depression as an excuse and an escape route, these are some of the topics that we dig into and throw ourselves into. Sooner or later everyone has to confront and deal with these things; the concept of success and failure, the differences between health and justice and their opposites, clashing with common sense, and the need to live the best life possible. One thing, once and for all, the word compassion shouldn’t be interpreted in haste only as “pity” but its etymology is much more complex, it is more to do with “feeling together”, empathy, rather than looking down from above.

You have defined your project yourselves as “indie industrial glam on the dance floor”… which fits perfectly both with your music and your image: can you tell us more about your quest/aesthetic dimension?

We want to communicate in an image what we explained above. How can it be done in a single photographic frame, how can we explain that there is something to be explored, that there is an alternative vision of the world and that we’re not just another band in eccentric stage costumes and that’s all? So, we go among people, doing our daily activities, comfortable in our tailored clothes. This is not a fetish, latex for the love of its feel on skin… instead it’s a pretext for talking about a lifestyle that many, looking only at a superficial level, mistake for puritanism and straight-edge. The choice of latex is in fact a short fall because we wanted to use the most “transgressive” and “sinful” material to the collective imagination. Then, add it to the rejection of the cliché of sex and drugs and rock and roll and you will find a lot of critics and detractors who bite in anger and are perhaps affected deeply. And they don’t talk about the music. What goes around comes around.

Considering for a moment your project’s “glam” elements: makeup, androgyny, the elimination of sexual connotations using latex uniforms/suits (by the way what material is it made from?) seems to be an aspect about which you really care… What can you tell us about it?

In response to the above we have unwittingly answered this question. We like to play around with sexual ambiguity, we like to think about it as evolving.

Manson, Smashing Pumpkins, but also Tears For Fears… What has attracted you to these poles “so close” yet “so far apart”?

Our ears were weaned on the eighties: through our parent’s music, the radio and the tv. … then mix that subliminal background with the nineties during which we passed through our adolescence…

I read that you were on tour in China… how did it go? How was an act as visually impressive as yours perceived in China?

In China, they came right up and attached themselves to the barriers to listen to us, or jumped on stage and threw themselves on their friends below; there are even videos online which show scenes like this. There, it seems, they come to live concerts to really enjoy themselves, given that there was no DJ-set at the end of the concert, at least where we played. The management of the venues were already impressed by our posters and word of mouth worked fantastically well. The most satisfying date of the tour was in Hong Kong where we found an audience who were perhaps more European and more “prepared” for our performance. After the show, we weren’t sure which floor of the building the venue was on, we talked about music all night in the rooms behind the stage where we were staying for the night…

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