Category: Clock DVA

It almost reads like a typical band history: early independent label releases critically acclaimed music, drug overdose, major label signing, acrimonious band splits, dropped by major label after first album fails to sell millions, further band splits and subsequent releases on obscure labels with declining sales and gaps between albums lengthening.

But I can’t think of a band that is further from a typical ‘rock band’ than Clock DVA.

Whilst the musical approach and style has changed throughout their history, there has been one constant – Adi Newton and his vocals – which I think is what attracted me in the first place and remains so to this day. His voice is certainly deep and often hovers on the line between singing and talking but does so with an intensity which conveys an importance to every word, there are no throwaway or slight lines, everything is important. And it is not just the actual words that are important but also their meaning. (although most, if not all of the time, I have no idea what it is). Yes, if you haven’t already guessed I was a miserable raincoat wearing teenager.

The ICA pretty much follows a chronological order as it highlights the musical evolution of the band, and mixing up the different eras just didn’t work to my ears. The pre-Clock DVA history of Adi Newton is fascinating; based in Sheffield he was a member of ‘The Future’ along with a couple of the Human League and was clearly a key player in the industrial/electronic music scene that developed in the city. In recent years there has been a number of ‘re-issues’ of cassette tapes by Clock DVA that pre-date their vinyl releases but I have not included these.

Side 1

1. 4 Hours (single mix) (Fetish Records, 1981)

My first exposure to Clock DVA would have probably been on the John Peel show and/or reviews in the NME of which I would read every word . Famously, Paul Morley compared its parent album ‘Thirst’ as being a debut album on a par with ‘Unknown Pleasures’. Clock DVA had collected some well known supporters with the sleeve being designed by Neville Brody (art director for The Face magazine) and sleeve notes by Genesis P’Orridge. The music is definitely early 80’s post punk powerful and bass driven, but with a jazz twist – yes that’s right jazz, I can honestly say that I have never owned a jazz album, but this comes closest – Lyrically ‘In my dreams I am older’ stands out

2. Blue Tone (Thirst, Fetish Records, 1981)

A slightly gentler, almost romantic song, which features a lovely plaintive saxophone or clarinet by Charlie Collins. The parent album went on to top the Indie album chart. And then the band split up or to be more precise most of the musicians left to form another band ‘The Box’

3. Breakdown (Advantage, Polydor Records, 1983)

The major label album produced by Hugh Jones and not too surprisingly there is a more commercial feel to the band, Breakdown is one of the 2 singles released from the album, which sounds and feels like a concept album set in France during World War 2, Breakdown features a great vocal contribution from Katie Kissoon with the contrast between her and Adi’s tone working brilliantly.

4. Resistance (Advantage, Polydor Records, 1983)

Starting with the sound of a wartime radio, to my ears the verses manage to convey the tense, secretive atmosphere of the French resistance before a cheerful uplifting chorus. With vocals like this Adi Newton should have been a voice-over artist. Whilst touring the album, the band split up. (a pattern is emerging)

5. The Hacker (Buried Dreams, Interfisch Records, 1989)

After a lengthy break, Clock DVA returned with a completely new sound and reduced personnel – just a trio. The sound was now almost purely electronic, but the voice remained the same. The Hacker was the single lifted from the album and whilst Kraftwerk made computers seem upbeat and positive, Clock DVA convey a much more menacing outlook.

Side 2

1. Axiomatic and Heuristic (Man Amplified, Contempo Records, 1992)

Only one member departed and was replaced this time and carrying on with the electronic approach which remains the way forward to this day. I’m not too familiar with how electronic music developed during the 90s so am unable to say how pioneering this is, but it certainly sounded ‘new’ to my ears, today it sounds almost stately and soothing. And for those that are wondering, Axiomatic means ‘taken for granted and self-evident’. Heuristic means ‘the process by which humans use mental short cuts to arrive at decisions’. And yes I needed to look the meanings up

2. Transitional Voices (Man Amplified, Contempo Records, 1992)

Driven by a great bass riff and with the opening lyric of ‘Can you hear them?’ this has a brooding tone, the air heavy awaiting the thunderstorm.

3. Pool Of Shades (Sign, Contempo Records 1993)

Now down to a duo. I’m always unsure how much input the singer of a band has into the music of a band, I assume they will have written the lyrics and the melody of the lyrics, but do they contribute to the music being played? Obviously if I’ve seen them performing with a guitar or playing keyboards then yes, but if they just sing on stage? So the sight of Jarvis strumming a guitar or Dave Gahan always seems surprising. What I have no idea of is how much input Adi Newton has had to the musical side of Clock DVA, but I suspect it is significant.

4. Syndrome  (Noesis,  Armcomm 2023)

After a very long gap, Clock DVA were reactivated in 2010 making occasional live appearances, but only returned with an album featuring lyrics and songs earlier this year this time on their own label, which was the spark for this ICA. Adi’s voice and vocal style remains the same. This is the opening track from the album and what better way to start lyrical than after a gap of 2 decades than with ‘And it seems the same tune’

5. Return To Blue (Sign,  Contempo Records 1993)

Piano led and more reflective, it makes the perfect closer to this ICA .