Biography              

I chapter MICROCOSM ONE

44 A. C. Ides of March: Caius Iulius Caesar got killed (this is not actually connected with the band, but it happened).

2042 years later Checco and Antonio planned to start a gothic band up, although they didn’t know what gothic really was: they were passing from Led Zeppelin straight to Type o negative and Moonspell. Soon they found a keyboard player: Francesca was already in a band, but she could easily play two different genres, being she really open-minded and skilled. Then it was Gennaro’s turn: we still ignore where he come out from, climbing down the mountains, where he used to live like an hermit. He brought this bag of "The cure" and 70’s sound you can hear in Lilith’s music, as well as that high mountain plant that can be smoked. Thus they stared playing some covers of the band I named, and they wrote the embryonic version of Lilith.

II chapter MICROCOSM TWO

Xarf and me had been without a band for quite a long time: we couldn’t find anyone interested in the same music we meant to play; the others member of our project becomes a computer and a synth: it was the age of the machine. We had this idea to play something influenced by NIN, Ministry, ant the 80’s dark. We recorded a midi electronic version of "The temple of love" and start working on the idea that lays behind Second hand kiss, probably Lilith’s more electronic song. At the time we needed an electronic drummer for the Sisters’ song we had recorded. After many useless calls Checco was contacted. I still remember the day of our first meeting: it was a grey Sunday and the place we met was even more grey, if possible. Xarf drove his –it’s a miracle all its pieces stay still together- car to the railway station and there we saw this long blond hair guy with an ambiguous bag in his hand: he was our man. After a while I was sleeping on Xarf’s sofa when I heard that Sisters’ song and…god it had the drums on!

III chapter MICROCOSM COLLIDE

At the time the situation was the following: Xarf and I couldn’t play without a regular drummer, and the drummer we found could not be regular because he was already engaged. Lilith could not play because they needed a bass player…it seemed no one was able to play! But the solution was at hand: Lilith gained a bass player and a new guitar player, we lost our project. As Grimms would have said "they all lived happily together" here in after. The band started working and after a few weeks they gave a first concert with a first version of Lilith and some covers; then another gig followed when we felt it was the time to write some more music. At the beginning it was not easy to blend 6 persons, 6 instruments, 6 different music experiences but the result was LILITH as you can hear them now. We meant to make something original out of a Black Sabbath song; Electric Funeral was perfect, heavy, doomy, malleable and as far as we could see it had never been played as a cover before. Gennaro broke out with this arpeggio that sounded real 70’s, Francesca inserted all the piano parts, Checco put the electronic drums of the end working on an Antonio’s idea: they got it! They made something original on a song that could be hardly improved (well they didn’t improve it, actually).

IV chapter PETALS OF CHRISANTEMUM

When I and Xarf arrived that day, tha band was already playing; we got overwhelmed by the tune we heard, the piano sounded so sweet but justbalanced by a carpet of artificial drums, the vocal line was just perfect. A few days later I came out with the synth part of the end, which was electronically completed by Checco and Francesca, it sounded so Arabian- like. Gennaro and Xarf put their arpeggios all over the song, and they trimmed it with that distinctive guitar noise that characterized all Lilith’s songs. Some time later the band decided to work on some music Xarf and me had previously composed: the song that would have become "second hand kiss" has this electronic intro, that was far improved by Francesca and the bass line Xarf wrote sounded real The Cure, it became the skeleton of the song. I had some lyrics on a Dostoevskij book and Antonio turned them into virtuous and vigorous vocals, adding some music to the chorus parts and to the end. The real problem came with the noise part of the middle: the first time they played, it sounded extremely different, very groovy: it’s following that groove they made it like you can hear, though the part went through eternal changes. After a while spent play and proving the songs they had Lilith reckoned it was the time to make something new. Everyone had something tit was possible to work on, in order to make a new song, but at the end they started working on an idea of mine: there was nothing done actually, it was nothing more than some midi-reefs put together, but they sounded all right. Checco made the whole stuff sounding industrial by his metallic-electronic drum work, Francesca rearranged the synth parts making them astral here and atmospheric there. Xarf and Grnnaro put their scratching sounds and noise all over the song. Antonio didn’t like the song at the beginning, he used to say it was impossible to sing on it and he refuse to sing at all…anyway one day he came with those beautiful lyrics you can hear.

V chapter SPRINGTIME

Lilith in 1999: in January we had 40 minutes of our own music; there was nothing to do but playing, performing live gigs and recording a demo tape. Performing live was not that easy, there aren’t many clubs here and you need the right contacts to play in those there are. However we gave a first concert at the King hammer pub. We had a terrible sound that concert, you couldn’t understand almost anything but greeting came like rain. After a while it followed another gig in the same place and it was an apotheosi. Nowadays Lilith have a promo-cd and are waiting to record their first album...

Biography compiled by Painpie (every mistake is my own fault!!!)