The commandments of punk were very simple: to be provocative, to reject inheritances and to be independent. And Aviator Dro applied them to the letter. They provoked even their own public, who insulted them when they sang Nuclear yes. Because nothing is more punk than laughing at the jipis and nothing more jipi in the Madrid of the Transition than the ecologist. They also enjoyed abominating the past. In its Manifesto of the dynamic revolution they claimed that nothing that happened before the Sex Pistols interested them, and in the pamphlets they distributed they advocated erasing the past and starting from scratch. Everything was mouthpiece, of course. His defense of atomic energy seemed out of a Marvel comic. Remember that Spider-Man gets his superpowers when a radioactive spider bites him. That was his dream: to change into something more perfect than the despicable and weak Homo sapiens. And of course they drank from the past, from the ideas of the anarchist Bakunin and the transgressive spirit of the avant-gardes of the 20th century. Above all, of futurism, already from the name, taken from L'aviatore Dro, futuristic opera composed between 1913 and 1920 by Francesco Balilla Pratella.
The disproportionate growth of his record company, which published many successes of the time, provoked a schism
Imagine the situation: 1979, in an institute in the neighborhood of Prosperidad in Madrid, some adolescents, high school classmates who are fond of science fiction, board games and pierced by that purifying ray that was punk, convince them to help in the occupation of an abandoned building. In the rebaptized Ateneo Libertario de Prosperidad, Aviador Dro and his specialized workers were born, rehearsing alongside Kaka de Luxe, Zombies or Radio Futura.
They invented the term "technopop" and founded the electronic branch of the scene of the eighties
It is perhaps the only group that remains active of the first batch of what was then called New Wave Madrileña and today is known as the move. In 2019 they turn 40, something they have celebrated with a series of concerts and a choral book: Aviator Dro. Scientific anarchy (Editorial La Felguera), coordinated by the veteran journalist Patricia Godes.
They created an own universe that unites the scientific utopia with the science fiction collectivism
Aviator Dro founded the electronic branch of that scene. Inventors of the term "technopop", were followers of Kraftwerk, The Residents and Devo, who took all their aesthetics -monos workers, helmets of work, robotic movements- and the idea of making pop with synthesizers. They create an own universe that unites the scientific utopia with the science fiction collectivism. A world formed by highly technological federated communes in which there is no God but science. They call it anarcofuturism and proclaim that its goal is to implant it through what they call the dynamic revolution. They dream of a future full of cyborgs and mutants. An egalitarian planet, cold and effective. The dystopia of dystopia. As A happy world, of Huxley, created from the ashes of the Spain of the eighties. And they proclaim it in their songs, in their staging, in their pamphlets, with that conviction that only exists when they are 18 years old.
Seen today, his albums (11 in total) are irregular, but great songs shine inside. Although the great work of Aviador Dro is not a disc, but a company. They fulfilled the third and most important punk commandment, "Do it yourself", and founded DRO, Radioactive Organized Records, which in the book is briefly and accurately described as "a small artisan empire". Created to distribute its own recordings, it passed in a few years of being a minimum structure carried by the members of the group to have 60 employees and an annual turnover equivalent to 10 million Euros. It was the great record company of the movida and they published many of the successes of the eighties: Los Nikis, Loquillo, Gabinete Caligari or Siniestro Total. This excessive growth causes tensions. In a corner, Servando Carballar, aka Biovac N, leader, ideologist and the only one of the 18 components that have passed through the group that has been in all the formations, and his partner, Marta Cervera, alias Rainbow. On the contrary, the rest, then more partners than friends. In 1988 schism occurs. Carballar and Cervera abandon the seal. They have 26 years and a juicy amount of money fruit of the sale of their part in the company. They found the label La Fábrica Magética and a comic and role-playing store. Five years later, the seal closes, partly victim of the war to the death that Carballar supports with DRO and partly because the move dies and the newborn indie It is ruinous. However, the comic shop would become the Generation X chain, which currently has 20 branches.
The schism is also the end of the original group and its most transcendent epoch. The next disc, Trance, it was published three years later under the alias Aviador Dro 4000. They later recovered his name, with which for 30 years they have edited another five lengths, the last one in 2012, which have come from different labels. Small, medium and ambitious as Mecanisburgo, multimedia project published in 2001. They have gotten into parallel bands like Supergrupo, half with L-Kan. And they have never stopped playing live thanks to a faithful fan base, intergenerational and even international.
The book, more punk than scientific, develops this in almost 600 pages divided into historical or thematic chapters. An exhaustive hodgepodge that includes essays and interviews of journalists, members of the group or its close circle. There are comics, photos or reproductions of their fanzines and their manifestos. Actually a loa to that same spirit of resistance that they proclaimed from their first manifesto: "The mutant adapts to the future to survive and survives to have fun and progress".
'Aviator Dro. Scientific anarchy. The fascinating techno revolution of the Aviator Dro '. Editorial La Felguera, 2019. 560 pages. 24.90 euros.
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