Negativland
Negativland

The nonconformist America of the mid-Seventies, perhaps a bit megalomaniac too, began taking immense strides. Artificial creativity was not a rare thing in those areas.

Remember the parallel universe of Zappa and "Virgin Forest" by the Fugs?

With the manipulation of tapes and cold synthetic games with keyboards, seeds are sown in an endless field. The foray into the robotic world, so technological gray, when a few years earlier there was the illusion of the smiling Flower Power, highlights a historical phase of great charm.

The factors that contributed to the consolidation of this sound box are the early fruits of primordial subhuman industrial, the marriage with Dadaism, and the depressed depiction of the faded English suburbs.

Art, avant-garde, and sociality.

The Negativland, an American trio, are the emblem of daring in a rather delicate time. As the Eighties approach, concepts are churned out that in most cases are still little understood today.

The chosen ones who throw themselves headlong into work like the debut of Negativland said a lot about awareness and foresight.

Cage and Stockhausen are approached with that suitable cheekiness of youth. The means provided so far by the avant-garde are augmented and vitalized. Thinking of the "The Commercial Album" by the Residents? Here there are unprecedented insights.

A thirty-six-minute infernal collage, that at least avoids the danger of being prolix and tedious. The incisive and well-orchestrated ideas are colored by drills, uncertain noises, bizarre parades, recorded voices, electronic games taken from the Neu’s second work, and spatial echoes.

The ideas follow one another between acoustic moments, cyborg barrages, and appliance hums. Mere everyday life, smiling faces on TV, and modernization are stripped down in the complicated language of noise collage.

Different realities in obscure sketches of a dark era. It is never spring here.