CLOCKDVA Clockdva,Fnd 1978 Adi Newton and S J Turner.

ClockDVA are increasingly considered as one of the pre eminent pioneers of 80’s experimental music.“Adi Newton has
long since described the process of making music as his research.It represents a more thoughtful and reflective body
of work than that which dominates his peer group. In particular, Newton’s grasp of the philosophical connotations of
technology placed him apart from the majority of its practitioners.”NME.COM First For Music News..DVA acclaimed
albums include the 1988 electronic masterpiece BURIED DREAMS & the 1980.electro acoustic THIRST.

Past or future CLOCKDVA stand on the edge of Now, Continually developing & researching and exploring new ways in
which to transmit the spirit and soul that is Behind and beyond technology & technique. Our aim is fundamentally simple
but also a complex Desire to connect to the human emotion that is the centre of what we are.Our work is aimed at an
individual level for a need to open the possibility of what sound and art can be and in this open new doors to new areas
of exploration for ourselves and others.

In the late 70s around 1978/1979 a project like no other orchestrated by Adi Newton came into being and it was
called Clock DVA. This project was unlike any other and was so original that it got people’s attention.
“my intension was always to go beyond the formats on convention and try to create something new, something outside
of orthodoxy to challenge myself, to stretch the frontiers and so l formed ClockDVA.” The new material we are eagerly
waiting for since it has been to long that Clock DVA has been away from the music arena. Adi Newton is a visionary that
surpasses even the normal criteria for industrial music from yesterday and beyond.

Culture Asylum Magazine.interview LA 2011

CDVA can list many albums that have received critical and cult recognition
WHITE SOULS IN BLACK SUITS /THIRST / ADVANTAGE / BURIED DREAMS /MAN-AMPLIFIED /SIGN / POST SIGN
CLOCK 2 SMART USB CARD and the Archive 6 LP folder - HOROLOGY .& due for release the MUTE RECORDS 8 CD
Box set. and The Future & Radiophonic Dvations Horology 2 / 5 album box set ,But we choose to focus on the new and
forthcoming works we are releasing and developing through Anterior Research Media Communications ,Armcomm for
short .Here you can find a link to our extensive web site which connects to the New & Past works of DVA /TAGC ,and
understand the progression and development of CDVA .

CLOCKDVA are Adi Newton / voice / computers /TeZ Marizio Martinucci / Computers /Audio Production .Panagi-
otis Tomaras / Creative Visual realisation

CONTACT / www.anteriorresearch.com / e-mail @ armcomm@btinternet.com / armcomm.co.uk

Berlin /June / Culture Fabrik / 2014
Stills taken from Kaberet 13
“Adi Newton
has long since described the process of making music as his research.It represents a more thoughtful and
reflective body of work than that which dominates his peer group. In particular, Newton’s grasp of the philosophical
connotations of technology placed him apart from the majority of its practitioners.”NME.COM First For Music News..
Adi Newton began his life long involvement with Sound via Painting and through a theatre Project which began his
involvement with the electronic Trio The Future from which he subsequently founded ClockDVA and TAGC / The
Anti Group, both of which are increasingly considered as one of the pre eminent pioneers of 80’s experimental
music.The CDVA acclaimed albums include the 1988 electronic masterpiece BURIED DREAMS & the 1980 electro
acoustic THIRST While TAGC can site the Meontogical Research Recording series and the Ambisonic landmark
Digitaria as much appraised and influential works.The Psychophysicist album is also considered as a important
seminal work devised / produced and composed by Adi newton and Andrew Mckenzie of the Halfler Trio.Newton
has recently returned to painting and intends to explore and develop his multi discipline practice into the Art and
Painting arena .While still remaining very active within the DVA/TAGC/PSYCHOPHYSICIST projects.Newton
Directs all three projects as well as the Multi media production company ARMComm / Anterior Research Media
Communications.

TeZ Maurizio Martinucci

Italian interdisciplinary artist and producer, living in Amsterdam (The Netherlands) since January 2002. In
1990 he attended a school for Computer Music Programmers with many
of Italy's best known specialists in electronic music. He participated in workshops at the
"Centro di Sonologia Computazionale" of the University of Padova, and at the "Tempo
Reale" institute in Florence directed by Luciano Berio. Since the late eighties TeZ has been
composing electronic music.
He released several records with various projects (M.S.B., DoseZero, Nukleus). In 1995 he
established the multimedia research laboratory “SUb” in Rome involved in audio-visual
experimentations with digital media for interactive applications and artworks. He has always
been interested in exploring the synesthetic relationships between sound and image, light
and space. In his work he’s always adopted custom developed software and original
techniques of sound spatialization and visualization realized with various analogue and
digital methods. In recent years his research has extended to the ideation and creation of specific
architectural structures and unconventional sound and light propagation methods to enhance immersivity.

Panagiotis Tomaras

Is a interdisciplinary artist making abstract and montage films, experimental photography and light installations.
Graduate of Photography and Audiovisual Arts department of Technological Educational Institute of Athens [GR] and
post-graduate in Digital Arts and Film (MA) program of Athens School of Fine Arts [GR] and ArtScience Interfaculty
(Mmus) program of Royal Conservatoire of The Hague, the Royal Academy of Art of The Hague and the Academy of
Creative and Performing Arts of Leiden University [NL].

 He has commissioned for theater and opera visuals, commercial teasers, motion graphics and has participated and
awarded in several festivals and competitions. He has co-curated at 2012 and 2013 the International Festival of
Digital Arts and New Media of Greece and since 2013 he is creating the award winning visuals of Clock DVA. 

Since 2011 he collaborates with artists, scientists and architects in various large scale new media and sensorium
projects while prints of his photographic work are part of the Greek Museum of Photography permanent collection.
He lives and works at the Hague [NL] and Athens [GR].
Photo Credit / JustMaria 2014
CLOCKDVA FLUSSI SELFWARE MEDIA FESTIVAL ITALY 2014
WGT Liepzig 2015 / Stefano Oflorenz

WGT Liepzig 2015 / Stefano Oflorenz

CLOCKDVA WROCLAW X INDUSTRIAL FESTIVAL POLAND 2011

CLOCKDVA BIMFEST FESTIVAL ANTWERP 2011


Crime Plays: Writer Ian Rankin
OBE
places THIRST by Clockdva in his
13 Favourite Albums
The Quietus . Luke Turner ,
November 21st, 2012
THE QUIETUS 2014 Richard Foster
Ah Adi Newton, what to think of you? In some ways
Newton is the most contradictory of artists. Through over
thirty five years' work in The Future, Human League,
Clock DVA and The Anti-Group he has made some
joyously simple, affirmative and forward thinking music
that nevertheless seems to trigger endless discussion and
reinterpretation. Seen but not seen, simple and direct in
sound and deed; but yet impossible to pin down. And as
such his work - from the outside - can seem to be the
preserve of some secret society; some weird Rotary club
staffed by ghostly Satan-worshipping monks in Algernon
Blackwood's Secret Worship. All this mystery is, of
course, the stuff that legends are built on but in other
respects it's a crying shame, as one of the first things to note
about Adi Newton's work with Clock DVA and The Anti-
Group is its clarity and beauty. Yes, it can also present
passages that are gnomic, puzzling and obtuse; all those
things for sure, but then, Newton's discipline of choice,
industrial music, has often shrugged off such categorisations
as "challenging" or "pioneering" or "difficult"; whilst
busying itself with more important matters of creation.
The pull of the new, the re-release of the
old – Post-Sign (2013: Anterior Research)
I'd wager that most of Newton's work has always been
interested with the ideal of a beauty that building a "new"
future, or beginning again is supposed to bring; and
you can certainly hear this in Clock DVA's two latest
releases. The clean lines, blank vistas and simple forms
associated with new starts are represented in the sharp,
crisp and sometimes clinical essays in sound that
make up Post-Sign and Clock 2. But, despite this use of
discipline in form, Newton sees the future as something
that is essentially romantic; Post-Sign in particular is
chock-full of dreamy melodic sweeps that counterpoint
the music's sonic mainframe. Just listen to that magnificent
twist half way through Sigma 7 the kind of synthesised
flounce that Thighpaulsandra would have stuck on a
Queen Elizabeth record. Elsewhere, Memories Of
Kelvin [For Era] and Project Paper Clip chug along like a
melody-filled Zeppelins released from their moorings,
blaring out the shape of things to come over commuter land.
This music represents the sensuousness of an imagined,
future “other” expressed in music and in image; the
radical manipulation of shapes that express new thoughts,
spatial iconoclasms that can create new understanding.
With this in mind,
there’s something cheerful and ultimately
romantic about the insistent bleeps and blurts that
underpin tracks like The Adoptive Morphology begins,
and The Silencing. And Newton’s interest with Malevich,
as seen in the extensive booklet that
accompanies the Post-Sign release, is a key here;
Malevich is long dead, but
his dramatic ideas regarding the use of colour and form
are often seen by Newton as a kick starter for fresh
enquiries, or re evaluations.*
Form over function and the trickster element
– Clock 2 (2014: Anterior Research)
Then there’s the pull of a different kind of physicality
with Clock DVA’s worldview; a tricksy-yet-serious dicking
about with format and notions of time; something that
B S Johnson chased with his novel Albert Angelo, where
Johnson cut out segments in pages, inviting the reader
to look forward into a plot yet to come. And the opening
lines on Clock 2, the ones launching the opening track The
Konstruktor, seem to be straightforward future-love on
the band’s behalf, as well as a weirdly suitable, pop art
summary of BSJ’s literary peeping tom-isms; “The future
begins with a break from the past”. Well, up to a point,
Lord Copper. Without doubting Newton’s motives, there’s
something very dry, very Northern about the band’s
latest release that counter-balances any grand plan.
For one, Clock DVA’s future-past shock treatment is seen
with Clock 2’s packaging. I can’t help thinking that the
metal case that cases the USB package has all sorts of
Loki-like properties; housing all sorts of material (visuals,
remixes and album proper), being a self-contained object
that offers no explanation of use, and a high powered
sonic tool that you can plug in and use virtually anywhere
should you wish. Still; once all this riddling is put to
one side and the choices are made as to what you want
to see, or hear, we are able to revel in the brilliance and
high romance of the band’s direct, but all embracing
music. Clock 2 shares the vast soundscapes and fizzing,
pulsating framework of Post-Sign, but also boasts an
additional toughness and an attention to even less
unnecessary detail. For someone obsessed with things
that aren’t corporeal, altered states and out of body
experiences, there is a raw physicality that informs this
work. On tracks like the ghostly Kabaret 13 or Rayonist
nothing is wasted, but everything seems to be full
of some deep-drawn invigorating sap. imaginary
Cold War spy film and being the field recording
of some vast dumping ground for old PCs. In fact
these reworkings seem to turn Clock 2 on its head,
And the remixes (from
Atom TM, Frank Bretschneider and Scanner) seem to
be able to draw on the same rich elixir; and as such are
brilliant additions rather than a set of afterthoughts or
add-ons. Scanner’s magnificent remix of The Rayonist
known as Rayonist Refraction 2 is a gargantuan 20+
minute essay that sways between sound tracking some
acting out some sonic idea of Misrule to Newton’s opening
declamation; questioning what went before, asking us
whether the future is represented by these remixes or the
work proper.
I sincerely hope that this review hasn’t confused you
further. *Recently, Newton looked to clarify the relationship
between Post-Sign and Malevich’s work over email to me:
“What the Post-Sign recordings represent is the formalisation
of the ideas at that time, they’re studies. Often the
study contains elements that are absent from the final
work it’s not that the elements are irrelevant or have lost
their meaning, it’s a process and within that process, there
are changes as that’s the nature of the development. In
fact this can be seen clearly in Malevich, from his early
figurative works to the ultimate minimal abstraction of the
black square where everything is reduced; colour/form/
technique is reduced to a total absolute of the framing, or
conceptualisation ”In this sense Post-Sign represents the basis, the
elements that were to be developed further. But these elements
still retain their central importance. Sometimes those
elements are lost in the development as the work takes on a
more sophisticated form. It’s interesting to note that the
word sophistication means a) the process or result of
change from the natural or simple to the knowledgeable
or cultured; worldliness b) complexity, as in design or
organisation c) impairment; disillusionment. So in many
ways the studies contain something vital and intuitive that
becomes submerged or altered in the final production.
Post-Sign represents those elements in their most vital and
intuitive stage. I guess that’s why I went back to look at
Malevich and the whole Russian avant garde art of that
time, as it was always an inspiration to my work, as well
as that of my colleagues Tez Maurzio Martinucci and
Panagiotis Tomaras, so by re-studying the past there is
always a new perspective as one develops and learns and
rediscovers new aspects and other connections.”
CLOCK DVA Obsküre Magazine #16 july+august 2013 Journalist : Maxime Lachaud -

First, I would like to come back on the history of Clock DVA. There were at least three or four different
periods in the story of the band which makes it difficult maybe for some people to draw common links
between all of them. There was first a very experimental electronic phase at the end of the 70s, with a lot
of drugs and alcohol, some called you the "Sex Pistols of electronic music" (!). Then there was the album
"Thirst" which has become a classic of the post-punk era. Then was the time on Polydor with "Advantage".
Then there was the period going from your masterpiece "Buried Dreams" to "Sign", in which you invented
your own type of electronic music mixed with concepts of sexual sonology, some labeled it the "electro-
sex" style. Do you see a common thread between all these different sides of Clock DVA? What was Clock
DVA really about and how can we understand its evolution?

Yes we originally began as a more electronic and experimental duo more in the line of Harmonium /
Kraftwerk etc myself and Steven ,AKA Jud but as we developed our ideas and David Hammond joined
the group on guitar we stated to evolve a harder and more aggressive sound and image and cultivated
this as we where all very much also into The Stooges and Iggy Pop, Suicide & The Velvet Undergroud
and obscure 60,s American bands and Kenneth Anger and the whole Exploding Plastic Inevitable,s idea
of expanded media and its influence on the basis in modern music at that time ,also as you say drugs
especially Herion played its role in Davids and Stephen Relationship, and we did get into some very weird
and strange experience in that time ,I had a couple of Hells Angel friends who came to stay at the Studio I
lived at ,who where our roadies for DVA for some time & this all added to the Mayhem and chaos that we
where channeling in this period but it did produce some of the very best DVA music in my opinion tracks
like the Edge ,1958 ,The Pop Hell ,Female Mirror.But because of the addictions and its problems it was
also very intense and so . it burned itself out and DVA evolved into the White Souls in Black Suits Period
of improvisational and experimental electronics,& acoustics and a more cerebral period for us.

Its a good point you make ,and I guess the problem lays in the fact that I was never someone that
felt content within a genre or remained within a formula ,instead seeing the necessity of change as a
mechanism to explore and try to pioneer new areas as a way to try and stretch myself and push the
envelope further,That’s why there where gaps within the output due to reorganization as line ups changed
and involved & other musicians where brought in who could bring in a different technique or style they
where using which could be directed and channeled into the form and concepts we wanted to explore
,DVA / TAGC Founding member and my best friend Steven James Turner was the only one who remained
constant and Steven and I shared that vision until his untimely death. As originally being a painter I had a
strong and very exact vision of the thing I wanted to create, this then took time to formulate and develop
into the form. But along with this comes the inevitable battles of egos and personalities that are part of
the individual and the psychology of the group,But my role as always been that of director, although one
tries to be as inclusive in the decision making as possible ,there are always those individuals who see it
in a different way or believe there role to be more than it actually is and this causes dissent and ununity
,the musicians I have involved other the years of course where talented I would never have invited them
in the first place if not ,but a few have stepped over the line , That’s why eventually I concentrated on the
The Anti Group as a means of moving outside of the rigidity of the group, a way in which to operate in the
context of the project and its given needs and aims at any given time or period.

Also to challenge the context of a group and what it is ,by expanding its creative paradigm to engage
in various medias and within different contextual frame works, an expanded media if you like ,The Anti
groups first non theoretical event was the Anti Theatre piece for 5 tape recorders performed live at the
“Der Doelen” center in Rotterdam on Sat. Sep 22nd, 1985
1985.Using aleatory techniques to create a form of acousmatic sound piece performance . Also the use of
Films and also publications ,expanding the form of Sonology ,a means of forming further connections and
possibilities.
I Think there’s always an underlining element in ClockDVA because it has the evolvement of a Sound which
over the years has become part of the fabric of DVA ,Horology evolved into White Souls which evolved
in to Thirst and then into Advantage then Buried Dreams which in some ways returns to the Earliest DVA
sound based in Electronics Sequences and tape sound samples of Horology ,but Buried Dreams its far
more technically advanced and precise / controlled because of the Digital Computer Technology we used to
create it ,but also it has the one most important element that is in everything I try to create

and that is the Soul or Spirit , the emotion of something felt and real within it ,that gives it its power and
depth. I think music is a channeling of Soul / ,Spirit so if its not present then consequently we are left with a
hollow and just a sequence of notes or melody’s That don’t connect to us on any deeper level ,that’s fine for
pop or temporary music and it has its place ,but for me DVA has always been about achieving that element
and making something that effects the listener in a way outside of the mundane ,those moments when we
understand what it is to be human and feel and then we transcend the rational into a realm we only know
through intuition beyond analysis these are the Magickal elements of a higher consciousness,and something
that we need in order to be more human. Slavoj Zizek refers to ‘ the eternal gnawing doubt over whether I
am truly human or just an android –it is these very undecided, intermediate states which make me human’.
- Before doing music (and I think you have never considered yourself as a musician), you were very much
into film, theatre, visual arts, and Clock DVA and your other important project TAGC were experimentations
in the mixture of performance, films, esoteric theories, visuals and the magical power of music, were they?
(I have read that apparently one of your first tapes was inspired by the movie “Texas Chainsaw Massacre”,
was it true?)
We used a passage from the establishing shots of the film which begins with some great sounds and
atmospheric noises and leads into a radio broadcast and establishing narrative of The Texas Chainsaw
Massacre story on the intro of one of our earliest cassettes, at that time the Film was still very radical & had
a shock value so if you had not seen it the audio is very effective and perturbing .But it was really only a
introductory sequence as I often engaged such devises as a prelude to establish a feeling and set the tone
and still do use establishing intros in Live performances .
Yes I never really saw my self as a musician I came by that involvement with my interests in sound through
the use of recordings and reel to reel tape manipulation and editing as there was something that appealed
to me in its use and its possibilities it seemed to me to capture atmosphere and rendered an acousmatic
source which gave it a sense of something undefined and open to interpretations ,as I was aware of the
works of, Cage , Ilhan Mimaroglu ,Stockhausen, Pierre Henri ,Walter Carlos and Eno ,and his use of
tapes and treatments ,especially the work he did with Fripp and Eno and his work with German Pioneers
Harmonia /Hans-Joachim Roedelius & Dieter Mobius.

Also very early Kraftwerk and there later work inspired me to experiment further, Has I had been
experimenting with recordings as a teenager with an old reel to reel,and the first portable cassette recorders
,When we formed the group THE FUTURE my involvement was purely with the manipulation of tapes
and loops and when I eventually did get a synthesizer it was a EMS Synthi E ,designed to apply external
acoustics to electronic synthesis & psycho-acoustic treatments ,my interests where more based in the whole
of Sonology and psychoacoustic applications sound a means to expand boundaries and new possible forms
,rather than purely synthesized music aimed at creating melodic sequences so my role in the future was at
a tangent to the premise of the group. The Future eventually after my departure continued to concentrate
on more accessible and electronic pop music and developed this into the Human League,Over the years I
have read some rather detrimental comments about my involvement in The Future so I feel now at liberty to
voice my opinions so its interesting and ironic for me to see now how Martin Ware has over the last years
suddenly started to cultivate an interest in Art and experimental sound after such a commercial body of work
,as the two seem to be to me very incompatible and opposed ,As creative work is not based on success or
The Future eventually after my departure continued to concentrate on more accessible and electronic pop
music and developed this into the Human League,Over the years I have read some rather detrimental
comments about my involvement in The Future so I feel now at liberty to voice my opinions so its interesting
and ironic for me to see now how Martin Ware has over the last years suddenly started to cultivate an
interest in Art and experimental sound after such a commercial body of work ,as the two seem to be to me
very incompatible and opposed ,As creative work is not based on success or sales or its commercial retail
but about personal inner expression and feelings ,this is the essence for the creative work of individuals it’s
a necessity of action and experimentation its not about achieving success as this is based on a perceived
acceptance that can be very cleverly manipulated by Media and the hierarchy of the Art / Dealer / Client
relationship ,the same as any Consumer orientated product .I understand the need for commerce in Art
to support and give resource or fund works but Artists have always found a way to create even under the
most difficult of circumstances in fact ,it is these very adverse conditions which have been a catalyst in
some of the most powerful works of Art as funding does not guarantee originality or the power to transcend
as its beyond materialism Duchamps Foutain the urinal is a very powerful indicator as it’s material value is
minimal yet its conceptual power change Art radically

“The event that made conceivable the realization that it was possible to ‘speak another language’ and still make
sense in art was Marcel Duchamp’s first unassisted Readymade. With the unassisted Readymade, art changed its
focus from the form of the language to what was being said…This change – one from ‘appearance’ to ‘conception’
– was the beginning of ‘modern’ art and the beginning of conceptual art. All art (after Duchamp) is conceptual (in
nature) because art only exists conceptually.” Joseph Kosuth- (1969),

Duchamp purchased the original piece from the J. L. Mott Iron Works Company, at 115 Fifth Avenue, a plumbing
supply store in Manhattans Chelsea. Of the eight
numbered editions of Fountain, apart from the present example, five are in Museums, one is in the Foundation
Dina Vierny in Paris and the whereabouts of one is unknown. The Fountain in the Sotheby s sale was most
recently exhibited in these years American Century show at the Whitney Museum of Art, New York and it is
estimated at $1/1.5 million.

So I find now his involvement relieving on a psychological level compared to his early opinions of Modern
Art which where derisive & skeptical ,He once told me that Kraftwerk,s music was to simple ,But that
simplicity and minimalism was for me the great strength of Krafwerks power, and as Becket has said , “less
is More “ .

- “Sign” remained the last album of Clock DVA and a brilliant one. Apparently, “Post Sign” can be seen as
an instrumental accompaniment to this album and was recorded just after. Can we see it a little bit like the
“Digital Soundtracks” you released in 1992? What was the concept behind the album?
Well I have written on the sleeve notes of POST SIGN that these where primary works I was developing
after Sign, some of the tracks I would have developed with vocals, others purely as instrumental pieces
in the format of Digital Soundtracks ,that is to say with a soundtrack feel and form.I have always liked the
idea of Sound /Music being used as a means to create a visual impression and its relation to entrainment
in Audio Visual work especially in compositional work for films or visuals the relationship is equal or should
be, as when the entrainment happens it creates another element / dimension that has a deeper level that
transcends.

So POST SIGN in the main is Soundtrack orientated and inspired by numerous Films and Ideas ,PHASE
IV 1974 directly on the Film of the same name by Saul Bass and a great electronic experimental sound
track by Stomu Yamashta (montage music) David Vorhaus & Desmond Briscoe (electronic music) Sigma 7 is
a combination of elements which is inspired by and takes its name from the NASA MERCURY project but
is also based on the ideas in the film Andromeda Strain 1971 Dir Robert Wise which also has a fantastic
electronic soundtrack by Gil Mellé great visual film and interesting concept which I extended on the Track
Exobiological containment Program.
The premise of the film is about a exobiological virus and its containment and the devastation that could
develop.The idea also has links to scientific theories of biological evolution and external exogenesis .At the
mountains of Madness is a direct homage to the H P Lovecraft story which inspired numerous SF writers
particularly John W Campbell jr ,WHO GOES THERE 1938 which was also made in to one of the classic SF
films of the 50,s , The thing from another world directed by Christian Nyby and produced by Howard Hawks
in 1951 and of course John Carpenter,s genre pioneering film The Thing 1982 with brilliant soundtrack by
Ennio Morricone this was also a further development instrumentally of the Track THE UNSEEN from buried
dreams.
- Apparently the darker elements of the NASA/Mercury Program influenced these recordings. Can you come
back on this influence?

Yes I started thinking about this area as I was working on SIGN and wrote about the connections on the
sleeve notes for SIGN about its occult meanings .But I wanted to explore at that stage the Ideas J G Ballard
had touched upon in Atrocity Exhibition and further expanded in MYTHS OF THE NEAR FUTURE ,with
tracks like POOL OF SHADES which directly relates to the ideas and images in MYTHS OF THE NEAR
FUTURE with tracks like THE OBSESSION INTENSIFIES & ETERNITY as Ballards writing also contains
elements of Alchemy and occult surrealism as surrealism derives many of its aspects from arcane sources
.The rest of SIGN focuses on varying ideas connected to the idea of space and its influence on religion
,culture , and Cosmogony…..also the Human condition and the emotion / psychology of inner and outer
space.

In POST SIGN in tracks like The Jet Lab JPL, I was further referencing the hidden associations of pioneers
like John Whiteside Parsons and his extraordinary life & work and his development of Jet Propulsion. He
was the head of Crowleys OTO lodge in America the 1940,s and was befriended by L Ron Hubard his
magical collaborator who also ran of with his wife and a lot of Parsons money.

Parsons helped make science fiction into fact, being as involved with ceremonial magic as he was with
rocketry research. In the mid-to-late 1940s, his major accomplishments behind him, magick came to obsess
him .Having turned what had been termed “science fiction” into science fact, is it conceivable that Parsons’
work may someday do the same for elements of “fantasy?” His imaginative powers had solved scientific
problems and thus paved the way for space travel. The fact that the scientific papers to which he contributed
were often unpublished (due to wartime secrecy), his name is not to be found in the scientific “who’s whos”
(though a crater on the moon -- 37’ N. 171’ W. was in 1972 named for him). But his name has often been
noted in the histories of magick,Parsons was a founder of the now highly regarded JPL Jet Propulsion
Laboratory yet still remains largely unacknowledged due to his extreme philosophic and magickal ideas of
sexual freedom and human culture.

The Track Project Paperclip is a reference about the evolvement of what became NASA and its double sided
morality.
Project Paperclip, was the US operation which saw Werner von Braun and more than 700 other former Nazi
Scientists spirited out of Germany from under the noses of the US’s allies after world war II
Its aim was simple:
“To exploit German scientists for American research and to deny these intellectual resources to the Soviet
Union.”
President Truman authorized Paperclip in August 1945 and, on 18 November, the first Germans reached
America. There was, though, one major problem.
Truman had expressly ordered that anyone found, "to have been a member of the Nazi party and more
than a nominal participant in its activities, or an active supporter of Nazism militarism" would be excluded.
Under this criterion even von Braun himself, the man who masterminded the Moon shots, would have been
ineligible to serve the US. A member of numerous Nazi organizations, he also held rank in the SS. His
initial intelligence file described him as "a security risk".

And von Braun's associates included: Arthur Rudolph, chief operations director at Nordhausen, where
20,000 slave laborers died producing V-2 missiles. Led the team which built the Saturn V rocket.
Memories of Kelvin is expressly referencing Stanislavs Lems novel 1961 SOLARIS and the masterful film
by by Andre Tarkovsky 1971 with again an amazing soundtrack by Eduard Artemyev.
The film is often cited as one of the greatest science fiction films in the history of cinematography. LEMS
novel is about the ultimate inadequacy of communication between humans and other species. While
Tarkovsky's adaptation is a “drama of grief and partial recovery” concentrated upon the thoughts and the
consciences of the cosmonaut scientists studying Solaris' mysterious ocean.

- To come back on the context when "Post Sign " was released, you were living in Italy at the time and
the record company Contempo stopped its activity at that moment. Did you stop Clock DVA because you
were depressed by the music industry or were there other reasons? - As you stopped Clock DVA, you also
stopped The Anti group Corporation. So are these two projects closely linked together, like both sides of the
same coin?

It was a number of factors that resulted in me making a decision to take time out of the music world. When
Contempo got into difficulties with taxation ,it was a tragic situation to be honest as Contempo had built
itself from a small independent record shop to very large international distributor and record label based
in a incredible premises in Florence with a good team of people it was one of the best and worst times for
me because as DVA we had negotiated all the releases under Contempo,s Label and was in the process
of establishing DVA at the for front of the emerging wave of electronics,I had just got married and so myself
and my wife had moved everything to Italy a few years before the fall,I loved living in Chianti and had a
wonder old farmhouse outside of Florence so when it happened we where forced to seek an alternative
label that’s when I first started Anterior with several releases of TAGC via Audioglobe which was founded by
former Contempo label managers and I also produced and made an album for Musica Maxima Magnetica
called: ISO EROTIC CALIBRATION ,after a year we left and moved to Milan where I continued working on
the POST SIGN recordings and started negotiations with another Italian label based in Milan which took
over a year to finally sign as I had to get all the ClockDVA rights released from Contempo ,by the time of its
completion I had moved back to the UK.

At that time I also went to Los Angeles to arrange collaborations with Brian Williams my old friend from
Lustmord and his Side effects label as he was living there working for Graeme Revell who had become
very active and successful in Hollywood composing soundtracks for major movies like Dead Calm / Strange
Days / Open Water / The Crow: City of Angels to name but a few ,we met and discussed his involvement
on a NEW DVA album along with former Tangerine Dream member Paul Hasslinger so everything was
set ,when I got back to the UK a month or so later the Italian Label succumb to the same tax problems
experienced by Contempo and they went into liquidation as well ,although I had been paid a good advance
I was without a label so I was back to square one.

looked into the possibility of doing Anterior myself independently and arranged a Manufacturing and
Distribution deal but the administration and work involved was infringing my creative work it was at this time
I decided to step outside of the area and concentrate on other aspects of Art and enjoy a life with my wife
free of the whole thing as I had become so tired of the business and all the complications .
In many ways it was a wise move as it allowed me to focus on the real and what is ultimately more
important, human relationships and our emotional life and family as my Daughter was also due to be born
so it was a different kind of life outside of the music world which I had been within for many years.I also
spent time as a tutor working with Music technology and video production and gained a teaching degree
and a degree in Education which was very fulfilling but also very tiring and frustrating as I had certain
ideas about education influenced by radical educationists thinkers like A S Neill / Ivan Illich & Steiner ,and
the Humanist schools of Dewey ,Rogers ,and ideas expressed by Baudrilliard / Foucault and so was at a
tangent to the mechanistic educational systems that still permeate today’s educational systems . After a
long hiatus I decided to Come back into the Arena as I felt ready to resume as I had been able to reflect
on the past and was ready to focus on a new and more individual way of working as increasingly over the
last decade I have become more directly involved in the formation and compositional work as this gives
me greater scope to create what I envisage ,although I am collaborating and working with a few close and
respected Friends & Artists such as Shara Velosenko a very good and old friend of mine from the very early
days of the New Wave /Industrial period who’s based in Berlin currently also TeZ an Italian Sound Artist who
lives in Amsterdam that I share a studio Facility with , all though he’s very much engaged with his own work
we work closely and productively together on both DVA & TAGC as well,and he’s someone I can engage
with on a lot of different levels and has a great knowledge of the Science of Sound and technology so he’s
perfectly aligned to the work in DVA / TAGC .

- The songs we find on "Post Sign" were apparently sketches but you decided not to rework them. Is it just
a last testament of the end of Clock DVA or is it a reactivation of the band (you also did some performances
these last years)?

I decided after I came back to listening to them again after a very long time that they represented and
captured a certain feeling and idea of a period of my work from that time ,all the tracks had been very well
mixed down into stereo files via my Macs & Yamaha Computer Aided Mixing console a decade previously
,so the audio quality and arrangements where very good .I didn’t feel it was a good idea to try and
reprogram these works or adapt them further as I had evolved my ideas into other areas of interest ,what
was there was definitely worth releasing instead of remaining Archived and unheard.

The release of POST SIGN is part of a strategy and schedule of releases and developments for Anterior
Research as a production company and also as a platform for new DVA & TAGC release’s as part of that
strategy and concept.The first new DVA recordings are being released on a special manufactured USB
object containing NEW ClockDVA studio production material since 1996 .Its a specially manufactured USB
smart media object , Also included are 4 visual works produced and made for the tracks ,
The USB also has links and interactive elements that expand the concepts and connections further so it’s
Well as I said the USB release CLOCK2 contains two new tracks with vocals and are lyrical based songs
,and the new DVA album due for release sometime in 2014 will feature in the majority vocal tracks as I aim
to really extended my vocal work on the new material ,I think you where right that the vocals on SIGN are for
me also some of my best so far as it was a very emotionally felt delivery due to the experiences I was going
through at that time ,but I think the voice with maturity and experience also increases so I very much intend
to develop this further on the new DVA tracks.

- There was a plan to re-release all your albums in a re-mastered version by

- There was a plan to re-release all your albums in a re-mastered version by Mute. Are there any dates fixed
for that? Will there also be unreleased songs and material?

This has been a very long and complicated release to organize due to the number of musicians involved
and a number of issues from a small segment of them that needed to be resolved ,so just the resolving of
these issues took a lot of time to finally be agreed .The MUTE box set is a 8 CD collection of all DVA albums
up to Sign there’s also a very extensive book included with lots of new and rare Artworks / photographs and
written text its not simply a re issue but a collective body of material ,at this stage all the original masters have
been digitally transferred from the original recordings, and are mastered as DDP files now, and ready to be
sent to the plant. The Artwork Design is more or less complete apart from the BOX it self which will house
the CDS ETC also included is HOROLOGY 2 which is a very abridged version of the 6 vinyl Album box set
HOROLOGY released on VOD IN 2012 which is the very earliest recordings of DVA,This version is only
available within the BOX edition and not as a separate CD. -

Last year, there was an exhibition retracing the history of the band and Vinyl on Demand released a box with
some of your very first recordings. We then realized that you were not only pretty close to the first industrial
bands like Throbbing Gristle and Cabaret Voltaire but that you were also very much into musique concrete
and experimentation with tapes. Was your music background as well into the musique concrete?

As I said earlier my first involvement with music / sound was via the use of open reel tape recorders and
experimenting with loops of vary sizes and degrees , and a host of other techniques to manipulate sound and
modify and treat it.Like Montage and editing as in acousmatic techniques.
And I was at a early age aware of composers like Pierre Henry ,John Cage ,Ilhan Mimaroglu , Walter now
Wendy Carlos,and the BBC Radiophonique workshop , with composers like Dehlia Derbyshire etc so musique
concrete was something I was aware of at a early age and something I was very interested in
Hence my first synthesizer was one of the many amazing electronic instruments developed by the Legendary
EMS studio of Dr. Peter Zinovieff.My particle synthesizer was specifically developed for applied electronics
and acoustics into electro & psycho acoustics ,as I could feed any kind of electronic input into to it for
treatment processing.
I was aware of coum Transmissions and Genesis as a performance Artist before TG,I had been researching
into the OM theatre of Otto Muehl ,Gunter Brus , Rudolph schwarzkogler , Kurt Kren and English performance
artists like Stuart Brisley who had been doing a lot of actions,Early DVA works OTTO M is a direct reference to
Muehl and the 2nd PTI performance is based on Muehls ideas , As painter I was very engaged in Modern Art &
post modern art and had come from an anarchic educational Theatre project called MEATWHISTLE so I was
already knowledgeable and occupied by the Literature of the Theatre of the Absurd,

particularly Alfred Jarry and Pataphysics ,Rene Daumal and Antonin Artaud and Marcel Duchamp there
writings and theory’s influenced me and informed me greatly in my formative years and which I later applied
to my work in TAGC first projects The Discussion and The Delivery Then later on HA ,and further evident
meanings on the TAGC ep : Sht .I was in personal contact with Gen and met with him in London on numerous
occasions he was very open and helped me on numerous projects Like PTI and was involved in the very early
work I began on the FILM / PERFORMANCE Project Genitals & Genosis ,Cosey ,Peter ,Chris where all in fact
very supportive we did a live support with TG in Leeds and eventually later asked to contribute an Album to
Industrial records ,White Souls.
It was through my friendship with Richard Kirk ,Stephen Mallinder and Chris Watson of Cabaret Voltaire That
I met DVA founding member Steven ,we where in fact a very social group at that stage and for a long period
socialized at various bars and venues in Central Sheffield’s more liberal district. We all shared a interest in
DADA and Surrealism and the 60,s darker counter culture Burroughs ,Gysin et all ,and experimental music like
TG / Kraftwerk ,and also groups like early (Eno period )Roxy Music so we had a shared enthusiasm in these
areas.

- Looking back at the history of the band, what would be some of the strongest memories you had with Clock
DVA and the highlights of this project?

This is very hard to encapsulate because there connected to memories and emotions so it was a feeling
at a certain point in time which is hard to isolate and mark out as being more than the others. But I guess
my fondest and strongest memory’s involve my times with Jud from the earliest period of the Formation of
DVA up until his death, There where amazing moments playing live or in rehearsals and recording sessions
when there’s moments when pure psychic automatism takes place and there is a sense of overwhelming
connections in the act of creativity together. But my most treasured ones aren’t connected to music but to
a deep and felt connection we shared ,and companionship we enjoyed and respected ,we where constant
companions and spent a lot of time together he was a very big part of my life and in many ways a lot of what
I do now in terms of the work within DVA is always connected to him ,we had great conversations late into the
early mornings or just going out for a drink, so many times and moments ,almost 30 years later and I still feel
that loss,Horology for me was the most important work because there was finally most of the recordings and a
document that detailed and laid bare the work we had done together and the brilliant contribution Judd put in
to create these works. I remember a few years ago I read a passage from a god awful opportunist book wrote
by a former ex member of a well known Sheffield group who I will not name, but had wrote that Jud was not a
good bass player and other detrimental comments which I found .personally very abusive, and disrespectful
to his memory , given also that Jud was not alive to refute such opinions. But Jud had something more than
mere technique, that other musicians can never achieve which is a inner power of expression that came from
his spirit and true integrity and a desire to express this in his playing which is ultimately more meaningful and
powerful, He was self taught he was not a trained musician but that never counted for anything to me,I have
worked with musicians who are virtuoso’s but lack that essence which is the edge.

THE EDGE– there is no honest way to explain it because the only people who really know where it is are the ones who
have gone over.
— Hunter S. Thompson

- What are the other projects you are working on at the moment?
For the last 6 months I have been developing Anterior Research A production RECORD Company primarily for my
work and for ClockDVA –TAGC/ The Anti Group releases and eventually other artists,The aim of ARMC is to release
unique high quality audio visual works using the best available quality packaging and printing available ,Material
released through Anterior with feature extensive artwork and accompanying literature. And Anterior Research aim is
to produce various Medias inc CD / DVD /USB / VINYL / JOURNALS / BOOKS / in physical format as well as Down-
loadable on line versions. And its about to release the first release
Post Sign a collection of material recorded after the release of Sign the last of the DVA releases on the
Italian Label Contempo. Produced and composed by myself throughout 1995 / 6 in Florence & Milan during a
transitional period in the chronology of DVA after which Anterior will release its most ambition release to date
with the NEW ClockDVA material on the USB smart media object featuring the first NEW ClockDVA studio
production material since 1996 in a specially
developed format USB smart media object,this special USB object comes in the form of a molded conceptual
object housed in a metal case and contains 7 x 24 bit 48 kHz non compressed audio files and is the highest
audio quality possible in a commercially available format ,
4 NEW TRACKS mixed and produced by ClockDva Adi Newton & TeZ and 3 remixes by respectively Frank
Bretschneider / Uwe Schmidt / Robin Rimbaud.
Also included are 4 visual works produced and made for the tracks ,2 by myself ,1 by Paul Prudence,& 1
a collaborative work with Wim Jongedijk /CDVA Which is a specially commissioned black & white 16 mm
film. Also included is a special PDF document outlining the conceptual ideas and there theoretical origins.
These works represent DVA ,s new development in to new technologies and a realization of sound which
draws both from the future and the past of DVA to create something which is a new but at the same distinctly
ClockDVA in its presence and my hope is that it achieves this synthesis The material is only partially
available on the ARMCOMM Vimeo channel at present as a sampler for the USB CLOCK 2 so its full content
cant be appreciated until its release, also with the USB format its full sonic sound field construction or the
visualizations can not be fully seen or auditioned.

A number of other scheduled releases will follow ,a new TAGC DVD / BOOK, mentioned previously and I
am also preparing a TAGC box edition of New and unreleased Archival Material in a 4/5 CD special edition
with MONOTYPE Records which will be extensively package and come with a lot of information. As well as
the above I am working on Material for the NEW DVA album that will be released in 2014 this will be as I
mentioned be very much a vocal album as explained as I want to really develop my vocals further and find
new ways to use them ,and we are about to start preparations for live Shows in the US in SF / LA / Europe
in Sept /Oct inc Holland / Moscow and possibly Paris but nothing concrete as of going to print ,but the rest
are confirmed ,we have a special event at the Incubate Festival in Sept ,where we have the exclusive use of
a Theatre to stage a combined DVA / TAGC event and will be staging the TAGC CUBE a 380 degree Audio
Visual set and later that day the New DVA staging where we will be showcasing our new Visual set up and
featuring the New releases and future works.

So I can saw my time is very much engaged in all the above but saying that I always make time for my private
and emotional life with my loved ones who are the most important aspect of my life.
I recently started my own blog which expands on a lot of the ideas and interests I have its not a music blog
its just my own thoughts and pieces of interest that inform my work.But maybe of interest to those who
appreciate my work.

http://adinewton.net/about/ and the main ARComm site is www.anteriorresearch.com