"There was a time when making electronic music meant making the future. The mainstream scenes that permeated the 60s and 70s saw themselves as vanguards which had managed to bring the sound of tomorrow forward, leading to a situtation where each would try to out-future the other whilst forsaking innovation. Kowalczyk[1], dismayed by the trajectory that the genre he helped developed was taking, famously declared 'if this is tomorrow, then tomorrow must be a boring wasteland.' One scene developing in the European underground agreed.
Centred around the insipient IKR boxes[2] of the 70s, the zifscene were a loose group of musicians and bands who wanted to bring back the transformative power of electronic music Kowalczyk spoke of in his halcyon days. Whereas the mainstream interpreted this transformation as constant progress towards an imagined future, the zifscene focused on a transformation of the mind, invoking new landscapes in the listener unable to be placed on any conventional scale of time.
[...]
Network's
Naskiĝo de nova tago, initially derided by the zifscene for being 'too bougie' for its willingness to play with the tropes of mainstream electropop, would become the genre's magnum opus. Network wanted to develop what they termed a 'multiaxial' album, forcing the listener not just to confront the 'real—unreal' axis at the core of zifscene but also one of 'techno-optimism—techno-skepticism.' Network used the tropes of electropop in surreal, unsettling, yet oddly
danceable way to represent their belief that while technology can be liberatory it can - and does - fall too often into the wrong hands.
[...]
Pathé sought to take advantage of a growing alternative music market and released
Ndnt as a test run of sorts to see what kinds of people would be willing to, as then-CEO Pajot put it, buy 'weird music.' Sales were middling despite critical acclaim; only after World War II and the album's suprise success in the newly-opened USA would
Ndnt be cemented as a cult classic. 'We rejected the future,' Hovagimyan said in an 1997 interview with Vox, 'only to become its prophets.'"
—Pierre Brisebois-Duchardt. Expanding the Plane of Imagination: The Rise and Fall of Zifscene,
The Globe and Mail, 29 October 2009.
[3]
[1] Polish-German composer similar to
Stockhausen.
[2] abbreviation of
internacia [poŝt]kestreto, equivalent to a BBS.
[3] band logo taken from an old Soviet synth called the
Polivoks. Said synth doesn't exist in TTL, but
a band taking its logo from musical equipment isn't all that unusual.