Click here to read the Italian version.

Among your songs (or lyrics) is there one in particular you wrote because you felt a deep personal urge to do that?
4 Men was a particular lyric that I felt I had to write. I wanted to be explicit about my desires.

Within your discography I’ve always been struck by Thought He Had Everything because it is able to communicate a painful and cruel message without departing from your typical ethereal style. The only track I know that brings the same duplicity to such a mighty result is 1963 by New Order. Could you name out another track with a comparable ability?
Well, there’s a way of looking at that song that I wasn’t expecting. Love the way lyrics can be interpreted/misinterpreted by the listener in their own personal way. I’m Not in Love by 10cc does something similar, perhaps?

Which ones of Julian’s guitar “soundscapes” you are most proud of?
One [of Those Sometimes Is Now] for Julian. My favourite of his would probably be Mad As Snow.

If there is a quality that really prevents your sound to seem outdated and that makes it unmistakable, I guess it is the powerful emotional charge of your songs… what kind of music or which artists did emotionally move you when you were working on your first albums? Which music moves you now?
Then: Beatles (She’s Leaving Home / I Want You) / Siouxsie & the Banshees (Happy House) / Echo & the Bunnymen (A Promise) / Velvet Underground (What Goes On). Now: Poulenc (Songs esp. Hotel) / Strauss (Last Four Songs) / Frank Ocean (Blonde) / Wildhood (Vert) / Blood Orange (Freetown Sound).

It is easy to define Folly as a “mature album”, because of the time gap that separates it from its predecessors but also because of the balance within the sounds and the topics. What do you think about this “mature” label? Do you find it truthful or reductive or irritating or anything else?
I’d be disappointed if we hadn’t matured. To sound the same would be so dull, so retrogressive, so stuck. Folly was an interesting way to see what we’d learnt over the years, and then to close the door on the Kitchens’ world.

What do you think about the health of the dream-pop genre in 2017? Is there any young band that you appreciate in this sector right now (even among the emerging bands)?
I have no idea about it I’m afraid. Dream-pop was never a fancy of mine. Ethereal whimsy doesn’t move me.

Andrea Lohengrin Meroni