About this user
EXPERIMENTAL AUDIOVISUAL MUSIC GROUP FOUNDED AND DIRECTED BY ADI NEWTON, INCEPT DATE 1977
ONWARDS.
myspace.com/adinewton
myspace.com/clockdvaauth...
NEW ALTERATIONS
Dies Dominica VII Novembris MMX
This channel will be changing and will feature Music and film pieces by DVA only specially constructed by Adi Newton and collaborators for this channel, which will be tied into the DVA facebook and mypace profiles.These pieces will be from official Archive sources and will be unique to this channel and not available anywhere else.
Adi Newton e.v.DCCXI MMX
Clock DVA's Buried Dreams
Clock DVA emerged from the North on the vapour trails of Throbbing Gristle and Cabaret Voltaire, forcing their way past the steel machine dreams of the early Industrial Scene and into the metaphysical, Deleuzian, broken backed psycho-mysticism that eventually saw the members fragment into the Anti-Group.
While many of their contemporaries seemed happy to explore and transcribe the sounds of the everyday in all it's prosaic beauty and scummy splendour, Clock DVA wanted to explore sounds that we hadn't yet heard, perhaps picking up the gauntlet from Chris Watson's Cabaret Voltaire defection. Adi Newton went down a slightly different path, as he felt the need to hinder himself within the boundaries of beat in order to expand sideways into the psychophysical exploration of sound.
Buried Dreams is their masterpiece. Even the packaging managed to dig up a host of references: Girogio de Chirico, Marcel Duchamp, the grinning face of John Wayne Gacy, Appollinaire and Walerian Borowczyk...
Released at a time when the Rev-Co / Ministry industrial-dance axis was just about full throttle and forcing a New Beat, A Grumh physicality onto the industrial map (thus following the lead of Test Dept and the earlier, more muscular Neubauten), Buried Dreams was marketed in much the the same way - play it in your industrial nightclubs folks! - but transcended that genre in two ways: firstly by u-turning into the inner realms and the unconscious, leaving the body behind as a passive machine for the mind and, secondly, by forcing a more singular version of the non-linear song form into the arena, so that the album sounded like an album, rather than a collection of floor fillers and tub-thumpers surrounded by putty-faced filler.
It's almost a concept album, albeit more Kinks than Yes. And there's a real attempt to sing, even if the vocals can occasionally weave their way towards Gothic murk. At the time, this seemed like a real shock; us Industrial fans had been used to a few years of shouting and sampled steel smashing ( it was getting on our tits), but we were hardly prepared for singing (a similar shock came with the Nine Inch Nails first album - I remember several grumpy Goth kids staring at it, then at me, trying to work out when the nails bit was going to start).
Clock DVA - Buried Dreams
Buried Dreams takes legendary proto-vampire Countess Elizabeth Bathory as it's starting point, mapping on a Bataille self-destroying angel fixation or two and then mixing in cello rumbles, piano stabs, drones and orgasmic sighs which seem to summon the ghost of de Sade... it's the most soundtracky of the songs on the album, beat-driven but ponderous, the vocals lying low and growling in the mix...
Clock DVA - Velvet Realm
Velvet Realm opens the vocals out a little, taking the fetishism theories of Krafft-Ebing's psychopathia sexualis as a starting point for a machine clicking, Exorcist-evoking tongue-lick, complete with references to velvet kinkiness and human drains.
Clock DVA - Sound Mirror
Sound mirror sounds not unlike The Shamen circa Phorward (always my favourite album of theirs) with drums all over the place, electronic squiggles and spoken word samples diving in and out. There's mroe than a little of John dee's scrying mirror in there somewhere, though this might just be auto-suggestion or fatigue.
Clock DVA - The Hacker
The Hacker rattles along on propulsive drum patters while secret machines try to bust in from the outside like an early Matrix rehearsal. In the light of Aronofsky's Pi, this makes perfect sense.
Clock DVA are bleak, pervy, pataphysical, studious, mystical, portentous and they slightly remind you of the geeky science boy with the popping eyes and the tub of ketamine but somehow they stew all this into music which has been very both innovative (you hear the joins beginning to unravel into glitch electronica) and, they'd hate me for saying this I'm sure, fun.
Clock DVA: jumping beans in the aether.
posted by Loki @
Interests
people aren`t interested in art. They don`t care about the medium, are too uneducated, and superficially see only the repulsive. Art is an attack, an accusation. It is something critical.
Art contains everything that one has experienced since childhood. The artist creates from the unconscious. He makes it visible. The musician makes it audible, and the writer makes it readable.
The artist does not stand in front of the picture, but he is in the picture. He does not sit like an analyst behind a screen. The analyst / patient role is abolished. It is preposterous and obsolete.
Yes, it is a great honour to be exploited, if one is so lucky — it presupposes you are worthy of being exploited.
OTTO MUEHL
NEW CLOCKDVA RELEASES 2008 /2009 ..
AFTER 2 YEARS OF EXTENSIVE WORK BY ADI AND JANE NEWTON ON NEW DESIGNS AND AUDIO RE MASTERING,THE MUTE RECORDS BOX SET OF ALL THE CLOCKDVA BACKCATALOG IS FINALY REACHING COMPLETION AND WILL BE SCHEDULED FOR RELEASE IN THE AUTUMN OF 2008. BOX EDITION WILL INCLUDE EXTENSIVE 100 PAGE BOOK. THE BACK CATALOG WILL ALSO BE AVAILABLE AS INDIVIDUAL CD,S .A NEW CLOCKDVA ALBUM IS CURRENTLY IN PROCESS SCHEDULED FOR A 2009 RELEASE
