CLOCK DVA - '4 Hours' - 7" 1981

Clock DVA's music of the late 80s and early 90s remains indestructible matrix, which served as a point of reference for that time's rising techno or the full-fledged electro-industrial EBM scene. Precise beat of CDVA imprinted the precursors of the Berlin and Frankfurt minimalist tech-minimal, and it stayed present in its further evolutions. CDVA has roots in Sheffield in North England – the birthplace of the classics, like Cabaret Voltaire, Hula, In The Nursery or Human League. CDVA began in times of the punk revolution which validated every experiment, linked materials and emancipation of any artistic work. From the beginning, the brain of Clock DVA has been Adi Newton – an individual, for whom any limits of pop culture or avantgarde are unknown. Clock DVA debuted in 1980 with the album White Souls in Black Suits, released by Industrial Records, belonging to Throbbing Gristle. Their music was a complete antithesis of what could have seemed to be an “industrial stereotype”. However, the only thing that industrial and Clock DVA had in common was experimental flair, psychedelic sound, using loops, the so-called white noise and electronics. With the mature form of “syncopated”, jazz-electronic DVA we can deal on the 80s' albums, Thirst and Advantage, which cleverly linked funky pos tpunk, new wave with death disco. Clock DVA later evolved from experimental anti-pop post punk and dark quasi-jazz, to purely electronic sounds of the albums released in the second part of the decade, such as Buried Dreams, Man-Amplified or Sign, which will be the cornerstone of their concert in Wroclaw. The manifest-track entitled The Hacker had been released many years (in 1988) before its online revolution. Futuristic work of CDVA enriched electronic music with interests of XX-century art, especially the idea of man-machine and constructivist demands of linking the man and technology. The audiovisual concept of Clock DVA always means transmission of information. Their realisations supported with well-researched works, bring thoughts of Tatlin, Lissitzky or Duchamp, they expose counter-cultural, hermetic literature, paranormal phenomena. From Lautreamont to surrealism, occultism and magic. The hypnotic, postindustrial music of CDVA is a reflection of the relation: a single man vs technology, it depicts extraterrestial drive towards the unknown, fascination by the cosmos and its exploration, it contains both: the experiment and bounciness, and this is exactly what their set in the Gothic