Today an American experimental music band which originated in the San Francisco Bay Area in the late 1970s. They took their name from a Neu! song, while their record label (Seeland Records) is named after another Neu! They have released a number of albums ranging from pure sound collage to more musical expositions. These have mostly been released on their own label, Seeland Records. In the late 1980s and early 1990s, they produced several recordings for SST Records, most notably Escape from Noise, Helter Stupid, and U2. Negativland were sued by the band U2's record label, Island Records, and by SST Records, which brought them widespread publicity and notoriety. ......Something to N'Joy
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Some will always say that practical jokers should expect retribution at some point. Others may note that within any joke there is some human truth. Still others will just want to enjoy the jokes as jokes and nothing more. Three differing statements, all valid truths when applied to one of America's most curious, clever, and inventive bands in the last 20 years of the 20th century and beyond, Negativland. Though named after a track by cult Krautrock band Neu!, who also inadvertently provided the moniker of the band's label, Seeland, Negativland's origins can be seen more in the cut-ups of early Faust, the radio-drama-on-acid-approach of the devilishly funny Firesign Theatre, and any number of sonic experimentalists and musique concrète composers. Sometimes appearing only to please themselves, other times perhaps willfully courting adverse attention without expecting the possible results, Negativland's saving grace has always been the sheer hilarity of its work. Without being a comedy band per se, and at many points making rather serious observations on the world around it, Negativland's cock-eyed, satiric vision of a barely sane planet often results in the best kind of humor -- the kind that can be enjoyed again and again, especially because of the textured, complex sound of their many astonishing releases.
Formed in the San Francisco area, Negativland originally revolved around the talents of Mark Hosler and Richard Lyons, multi-instrumentalists with an ear for tape manipulation of all sorts. Their inspired stroke of genius was to recruit David Wills, more famously known as the Weatherman in later years, to make up the original trio. Wills, a cable TV repairman by trade, was just as obsessed with home recording and experimentation as the other two, and his wry, drawling vocals became the core trademark for many of Negativland's most notorious releases. Working with a few guests such as Peter Dayton on guitar, the trio released its debut self-titled release in 1980, notable as much for its packaging (each album featured individually wallpapered covers) as for its fragmented songs and textures. Apparently, the still-teenage Hosler wanted it completed in part so he could feel he had accomplished something by the time he graduated from high school, a reasonable enough goal. Released in 1981, Points featured the same general lineup, with a new notable guest performer being Ian Allen, credited with tape processing on one track. However, an even more important bond was made that year -- the recruitment of Don Joyce. Joyce had started a free-form radio show, Over the Edge, on the Bay Area's KPFA station that also explored fried humor and social commentary much like Negativland itself. As a result, Hosler and company appeared one day on the show shortly after it began, and since then Joyce has not only been the only constant member of Negativland aside from Hosler, but Over the Edge has become the regular sonic testing ground for most of the band's releases, still running strong after 20 years.
The next official Negativland album was the group's unquestionable breakthrough. 1983's A Big 10-8 Place, was created by the core of Hosler, Allen, and Wills, with Lyons and Joyce as guests, along with a new face, Chris Grigg. Synthesizing the band's love of aural theater and the subversion of expected pop and rock approaches, it was at once a hilarious and quietly harrowing vivisection of suburbia, winning the band new fans and a growing reputation. Allen formerly departed after that point, while Joyce and Grigg became full-fledged members. The ensuing five-piece lineup -- Grigg, Hosler, Joyce, Lyons, and Wills -- kept up their various explorations on the air and in the studio, not to mention irregular but creative and well-received live performances and occasional dabbling in video work. Their reputation grew to the point where they were formally signed to Greg Ginn's legendary punk label SST, a decision that would have unexpected consequences some time later.
The band saw out the '80s with two major releases on SST, not counting a variety of tape-only efforts showcasing some of the best Over the Edge sessions. Issued in 1987, Escape from Noise took the scope of A Big 10-8 Place to even wider levels, touching on everything from how many time zones Russia covers to a rendition of "Over the Rainbow" sung by a little girl plagued with hiccups. Maintaining Negativland's blend of wit and darker themes, it might have simply remained a cult classic were it not for the appearance of the throbbing, creepy "Christianity Is Stupid" and, a few months after the album's release, a mass murder in Minnesota committed by a teenager against his family. Having seen tour plans fall through at around the same time, Negativland decided to distribute a fake press release hinting that the killer had in fact been arguing with his parents over "Christianity Is Stupid," which resulted in a slew of publicity and confusion over what the truth of the situation was. Some condemned the group's actions as tasteless exploitation, but Negativland preferred to think of it as an examination of media assumptions, and the whole affair became the backbone of 1989's Helter Stupid.
As if the storm of controversy over "Christianity Is Stupid" wasn't hectic enough, what the band did next was nearly enough to do itself in permanently. With barely any advance publicity -- but all too suspiciously timed to appear just before U2's long-awaited 1991 album Achtung Baby -- Negativland (with Lyons taking a temporary break) let a two-song single slip out in the summer of that year called U2. The contents turned out to be two radically different versions of the Irish band's anthem "I Still Haven't Found What I'm Looking For," using and chopping up the original beyond recognition, as well as splicing in bits from a notorious underground tape featuring legendary -- or at least long-lived -- American DJ Casey Kasem obscenely ranting about nearly everything.
What happened over the next few months is still the subject of legal threats on all sides, but first U2's label crashed down hard on the release, forcing it to be withdrawn after only a few days of being in the stores (all of which occurred without the knowledge of U2's members themselves, by all accounts). Kasem found out what happened as well and launched his own lawyers onto the case. Things then got even more hairy for the band when SST suddenly turned on the group, with Ginn seeking to recoup his financial losses via the bandmembers (even as a follow-up EP, Guns, slipped out). The ensuing barrage of claims and counterclaims, documented first in the band's 1992 CD/book The Letter U and the Numeral 2, and then in even more detail three years later in an expanded release called Fair Use, found Negativland beset by legal and monetary woes that almost sank it. At the same time, what had been a joke and a dare soon became a new focus for the bandmembers, who inadvertently made a name for themselves as crusaders for both artistic integrity and a freer interpretation of copyright law in opposition to corporate control.
This fresh direction, though one which grew naturally out of Negativland's previous work, helped reinvigorate the group, which reactivated the Seeland label with the release of Free in 1993. Accompanying tours found the band delivering both older hits (if you will) and extended meditations on the whole U2 saga (a notable though unofficial release, Negativconcertland, presented a typical show over its two discs). Perhaps most notable of all was Wills' live work -- for any number of rumored personal reasons, he refused to tour, so the band did the next best thing and simply videotaped his parts for playback.
After further extricating itself as much as it could from the matter, as well as completely severing all links with Ginn and SST, Negativland kept on keeping on. Joyce's Over the Edge show continued as always, with an increasing number of old and new shows edited for presentation as formal releases, though 1996 brought the departure of Grigg from the band. Negativland's next formal release in 1997 looked to be another red-flag-to-the-bull effort, though whether out of foolhardiness or calculation is up to the individual to decide. Regardless, Dispepsi, featuring the guest contributions of newest member Peter Conheim, didn't bring down the wrath of Pepsi-Cola on the band's head, even though the cover art was clearly a riff on the distinctive brand's logo while the content explored the very concept of advertising and its potentially destructive nature. 1998 featured a follow-up EP, Happy Heroes, while the following year saw the appearance of a full collaboration single with British radical stalwarts (and longtime Negativland fans) Chumbawamba, The ABCs of Anarchism.
The turn of the millennium brought a new, if generally lower-key, era to Negativland, with the group's most notable later work being a well-received tour, True/False 2000, featuring much newer material as well as an old standby or two, not to mention some amazingly nutty between-set skits and films (and, as always, Wills only turning up on video). In 2001 the band released a sort-of bootleg, These Guys Are from England and Who Gives a Shit, revisiting the whole U2 blow-up with numerous alternate versions (and the originals) of Negativland's most (in)famous effort. The following year saw the release of Death Sentences of the Polished and Structurally Weak, and in 2005 the band issued No Business and celebrated its 25th anniversary by curating an art exhibit in New York City called Negativlandland, which contained artwork that was inspired by the band's music, as well as Negativland music videos and original art created specifically for the event. Three years later, Thigmotactic was released on Seeland Records. In 2014, Negativland and Seeland released one of their most ambitious projects, It's All in Your Head, a concept piece about the practice of religion and why people place their faith in a supreme being. The album was packaged in a specially repurposed King James Bible; a limited-edition version of the set was accompanied by a Qur'an instead. Former member Ian Allen died from complications related to heart-valve replacement surgery in 2015 at the age of 56.
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The then-trio's debut record, like many first efforts out there, was tentative in many ways; without Don Joyce and his ear for ratcheting up collage chaos to even more confused yet coherent levels, Negativland here had many of the intentions but not the overarching conceptual approach. Still, much that's core about the group was already perfectly apparent -- the use of unexpected and often disorienting found-sound samples, sudden stops and starts, few "songs" as such. It's a very subtle record on balance, though, only here and there being as flat-out jarring and, dare it be said, epic as later albums, but with a fine ear to offsetting what might be pure ambient sound with a sense of both dynamics and construction. Nothing appears to be added "just because." Many of the band's earliest roots can readily be detected -- the combination of acoustic guitar and household noises on "2," for example, call to mind Pink Floyd's similar blend of mellow music and domestic activity on "Alan's Psychedelic Breakfast." Auras of Neu!'s cosmic drift mode and Faust's skipping from one source to another also come to mind; guitars are usually heavily processed and what conventional melodies are apparent, while the whispered vocals and near new wave pulse and chug of "10" suggest newer sources of inspiration. If something is already clear, it's the approach to considering suburban life and activity as a source of both amusement and unnerving horror. It could be the metallic drones and buzzes underlying "3" or the children's laughter and giggles mixed with nuclear war alerts on "19," but something is not entirely right. Wills doesn't make his vocal presence known except briefly, but when he appears, his one-of-a-kind way of speaking helps make the whole experience as perfectly Negativland as could be desired. Classic Wills moment: him saying over a drum machine skitter, "Play Black Sabbath at 78 RPM!"
Negativland - Negativland (flac 196mb)
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Negativland's second album -- and final one before Joyce became a full-time member -- found the band's ambitions and compositional range increasing in due measure, if still not quite up to where A Big 10-8 Place and after would lead them. That such a young band would be not merely content but inspired to try and twist as many recording conventions as possible to suit their own purposes -- especially years before home computers and software made such manipulation incredibly easy -- deserves credit alone. The trio's various sonic collage and Krautrock inspirations still hold sway in many places, ranging from rhythmic chimes slicing through a song mix to more random vocal sample/noise combinations (check out "Dear Mary" for a prime example). Meanwhile, the definition of what a "song" is itself is again tested more often than not. The themes of a fractured, not entirely whole suburbia again hold sway -- "A Nice Place to Live" and its juxtaposition of boosterish news reports and dark synth is a fine example -- and are further captured in part due to some inspired guest appearances. Wills' mother and aunt duet on accordion and singing for "Harry to the Ferry" -- though most of the song is in fact a rather insanely chopped up recording of the process of taping said piece -- while Hosler's own mother turns up with "kitchen noises" on the piano/synth improv "Clutch Cargo '81." A couple of the group's most straightforward compositions take a bow on Points, like the home organ bop of "The Answer Is..." (featuring a stuttering Ronald Reagan snippet, first of many politicized digs at the '80s state of mind). The credit list for the album alone is worthy of interest, with the three main members listed as playing, among other things, oven grill, puppies, parakeets, and a banana chair.
Negativland - Points (flac 190mb)
01 Harry The Ferry 3:54
02 The Answer Is... 4:26
03 Scolding Box 5:21
04 That Darn Keet 1:50
05 Dear Mary 1:46
06 Clutch Cargo '81 3:48
07 BABAC D' BABC...5:03
08 A Nice Place To Live 2:51
09 A Bee Fly 0:58
10 No Hands 3:09
11 Potty Air 5:53
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By their third album, Negativland had started to hit their stride. Named after the citizen's band code for "on the air," A Big 10-8 Place made good use of recordings of people talking over the airwaves. In its entirety, the album served as a kind of documentary of Contra Costa County, where the bandmembers lived (there was even a piece with directions on how to get to Concord from San Francisco, if you were interested in visiting). The album fired the opening volley in Negativland's ongoing challenge against copyrights and what is considered public domain. How much does something have to be changed before it's original? If you say something over the air, is it public domain? Although A Big 10-8 Place posed some of these questions, it was just a warm-up for the albums to come. The album's packaging featured many fun bonuses, including Contra Costa lawn clippings (or wood chips).
Negativland - A Big 10-8 Place (flac 204mb)
01 Theme From "A Big 10-8 Place" 2:58
02 "A Big 10-8 Place" Part One 13:22
03 Clowns And Ballerinas 1:34
04 Introduction 0:49
05 Four Fingers 3:05
06 180-G: "A Big 10-8 Place" Part Two 15:49
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Oops some more land
After the relative success of 1987's Escape From Noise album, studio project Negativland found itself in the strange position of being expected to go on a money-losing tour. To get out of the tour, the band cooked up a phony press release linking their song "Christianity Is Stupid" to a multiple murder, claiming that federal officials had told the band not to leave town. This prank quickly spiraled out of control, with many media sources taking their news from each other instead of reality. This media circus became the basis for the first half of the album Helter Stupid, which deconstructs the media, the controversy, and sensationalism. Although the root of all of this material is perhaps ethically questionable, "Helter Stupid" is a brilliant lampoon of the media and makes the listener question just what is being fed to them as "information." Filling out the album is a series of "Perfect Cut" tracks, which meld together tons of singles from the '70s and then get Negativland audio blender treatment. Although the songs have their moments, they're not really enough to sustain half an album, especially after such a good start.
You know the saying: if you keep sticking your hand into the fire, sooner or later you're going to get burned. This release had "lawsuit" written all over it in so many ways: a mercilessly insolent take on the U2 single "I Still Haven't Found What I'm Looking For," wholesale and reckless sampling from the original song, and unrelenting profanity (both from the airwaves and from potentially illegal outtakes of Casey Kasem ranting on the set of America's Top Forty). Although each of these things would have been enough to get lawyers sniffing around, what finally did the band in was the cover art, which Island Records claimed could be mistaken for the upcoming and eagerly anticipated U2 release. The legal writs started to fly, eventually causing a nasty legal battle between the band and their own record label, SST. Ultimately, copies of the single were recalled and destroyed, making the remaining copies tasty little collector's items. What often gets lost in all the controversy over the single is that it was actually one of the best works the group had done to date, with great editing and a great sense of humor...unless you happen to be Casey Kasem.
Negativland - Helter Stupid (flac 341mb)
Helter Stupid (21:55)
01 Prologue 4:00
02 Helter Stupid 17:56
The Perfect Cut (25:41)
03 The Perfect Cut (Canned Music) 3:27
04 The Perfect Cut (Rooty Pops) 2:18
05 The Perfect Cut (Good As Gold) 3:17
06 The Perfect Cut (Piece Of Meat) 3:18
07 The Perfect Cut (White Rabbit And A Dog Named Gidget) 2:41
08 The Perfect Cut (11 Minutes) 4:52
09 The Perfect Cut (48 Hours) 5:37
10 I Still Haven't Found What I'm Looking For (1991 A Cappella Mix) 7:17
11 I Still Haven't Found What I'm Looking For (Special Edit Radio Mix) 5:45
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