Y.B.: If I could use only one word to describe your music, it would be: psycho-analytic.
K.B.: There's another fascinating observation. I'm certain that everyone who writes, all artists, are very analytical. Often, that's what expresses their most destructive side. Tony Hancock {Goon Squad comedian very popular in the early 60s} is a perfect example: he was a remarkable actor, who ended up by examining himself, criticizing himself so much that he destroyed himself. It's something that exists in each one of us, but which one must succeed in mastering, otherwise one risks going mad. When writing, every time, one is really obliged to analyse the things one is talking about. That's the essence of the creative process.
Y.B.: Often you do not hesitate in crossing the limits of hysteria. "Running Up That Hill", and even more, "Hounds of Love", are two good examples.
K.B.: In "Hounds of Love" there's an energy of despair, yes. It's about someone terrified, who is searching for a way to escape something. My voice, and the entire production, are directed towards the expression of that terror.
Y.B.: Could you clarify "Running Up That Hill" a bit more than the lyrics do?
K.B.: A man and a woman love each other enormously, so much so that the power of their love is the source of their problems. Briefly, if they could make a pact with God to exchange their roles, the man becoming the woman and the woman the man, they would understand each other better and would resolve their differences.
Y.B.: From a first listening, one gets the idea that it's with God that want to switch roles...
K.B.: There are several people who have heard something of that sort. THERE's a good reason for doing this interview, if one needed one. Tell them that I would never dare imagine such an exchange.
Y.B.: "Cloudbursting" {sic}, the second English single, is also tricky, for those who haven't done the same reading as you.
K.B.: It's a song with a very American inspiration, which draws its subject from "A Book of Dreams" by Peter Reich. The book was written as if by a child who was telling of his strange and unique relationship with his father. They lived in a place called Organon, where the father, a respected psycho-analyst, had some very advanced theories on Vital Energy; furthermore, he owned a rain-making machine, the Cloudbuster. His son and he loved to use it to make it rain. Unfortunately, the father is imprisoned because of his ideas. In fact, in America, in that period, it was safer not to stick out. The drama: the father dies in prison. From that point on, his son becomes unable to put up with an orthodox lifestyle, to adapt himself. The song evokes the days of happiness when the little boy was making it rain with his father.
Y.B.: Dreams form an important part of your preoccupations, at first glance.
K.B.: It's that there exists only a very fine barrier between them and reality.
Y.B.: With this difference, that your dreams rarely make the headlines of newspapers!
K.B.: It doesn't go that far, you're right. But dreams are essential to humanity.
