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Art of Noise

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Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with Kiss and the instrumental Peter Gunn, which won a Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-theth-century revolutions in music, the Art of Noi… read more

Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Ann…read more

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    Sours: https://www.last.fm/music/Art+of+Noise/_/Moments+In+Love+(Quiet+Storm+Version)

    Part I

    THE ZTT YEARS( - )

     

    Art of Noise were formed after Gary Langan and JJ Jeczalik started to sample a drum riff that had been scrapped by the rock group Yes for band's album that was being produced by Trevor Horn. It was the very first time that an entire drum riff had been sampled on a Fairlight, C.M.I. sampler using the then new Page R sequencer, that allowed the programmer to sequence anything that had been sampled. At the same time Horn was setting up his to his new Zang Tuum Tumb label, co-founded by his wife Jill Sinclair, ex-NME journalist Paul Morley and with help from Langan.

     

    While trying to secure a deal with Island Records, ZTT needed to find their first act to sign, alas  without any success until Langan played a demo of what he & Jeczalik had recorded to Horn. Impressed by what the two of them had done, Horn played it to Chris Blackwell (the founder of Island Records) who in turn played it in some clubs in New York. On his return to the London, Blackwell told Horn to sign them to his new label, which in turn secured the deal between ZTT and Island.


    Anne Dudley got involved into the project to provide the melodies after the two founder members started things off. They recorded things in their spare time as they all had day jobs, Langan – a sound engineer/producer, Jeczalik – a computer programmer, Dudley – an arranger/keyboard player and Horn – a producer. They were all part of Horn's production team and had all worked together the previous year on ABC’s classic masterpiece The Lexicon Of Love and the late Malcolm McLaren’s Duck Rock album.

     

    They had all learnt a lot from McLaren’s attitude of ignoring the rules of music and mixing stuff up and seeing what happened. Morley became the fifth member of the group, not as a musician, his role was to inject ideas, write sleeve notes, name the tracks and be the group’s spokesperson. He originally named them the Art of Noises, the English translation from an early 20th century manifesto L’arte Dei Rumori by Italian Futurist Luigi Russolo. However it was Jeczalik who actually named the group the Art of Noise when he decided to drop the ‘s’.

     

    With the help of Bob Kraushaar, Horn & Morley complied the nine track EP Into Battle With The Art Of Noise that became the Art of Noise’s debut release as well as being the first ever release by ZTT in September A decision was made earlier that year that the group should be a faceless outfit although this led to confusion in the USA when they were awarded Best Black Act of Beat Box was the track that everyone went crazy over and boosted the EP to number one in the dance charts in the USA. Moments In Love made its first appearance on that record too, along with The Army Now that sampled the Andrews Sisters. Nobody had ever heard a record that had been created using what is now known as 'cut and paste' techniques before or an instrumental love song with the sound of hammers being hit instead of the sound of a drum. Art of Noise soon gained a huge cult following in the USA that has remained to this very day.

     

    Beat Box (Diversions One and Two) [UK: #92] was issued in March in the UK. An edited version of (Diversion Two) was issued in the USA as Close (To The Edit) in late June. The single was accompanied by an award winning video directed by Zbigniew Rybczynski that was regarded by some as too violent as it showed traditional instruments being smashed up and cut up with chainsaws. In June the Art of Noise’s debut album was released entitled (Who’s Afraid Of?) The Art Of Noise! [UK: #27], four months before it was released in the UK, it was vast re-working of a planned and scrapped album called Worship. The LP  featured the two singles released in that year along with the full length version of Moments In Love that appeared on their debut extended play. A Time For Fear (Who’s Afraid) opened the album by highlighting the story of the illegal invasion of the British Commonwealth island of Grenada by the United States. The track illustrated that technology could also be used to make a serious point on a record by sampling news reports, then turning them into a form of 'lyrical performance' as opposed to making music aimed at the dancefloor. A second version of Close (To The Edit) appeared in November with a new animated video directed by Andy Morahan which began to propel the group and the track into the UK charts, peaking at number 8 in February


    With a top ten hit behind them, the Art of Noise were now in the public consciousness being featured in teen music magazines and on appearing on radio shows. Around that time tensions within the group were starting to surface as over the past year the media were crediting everything to Horn & Morley. Two of the most misleading images appeared in the second Beat Box video which saw Morley appearing in the intro and outro with Horn being seen behind a turntable in his SARM studio. With the way the group were marketed and perceived, the idea of a totally faceless group began to fade. Dudley, Jeczalik & Langan minus Horn appeared on television for the first time. With only two days notice they performed live on the cult Channel Four series The Tube with Morley acting as spokesperson. Next up was the BBC’s long running Top Of The Pops where the trio were actually seen for the first time miming and dancing to Close (To The Edit) without their masks and once again in their Moments In Love video [UK: #51]. Their next planned appearance would lead to an acrimonious split between the three main members of the group and Horn & Morley. With nobody at ZTT noticing that the group’s contract had expired, things came to a head when a two week show at the Ambassador’s Theatre was staged. Art of Noise were due to appear, but pulled out of the event as there wasn’t enough time to prepare leaving Morley to improvise on stage and announced that “Last Monday when Anne, Gary and J.J. turned up for rehearsals we shot them, and now we’re back with no group, no names, no faces. We’re going to try again, just the music".

     
    Part II

    THE CHINA RECORDS YEARS ( - )

     

    Following the events of the Amassador's Theatre, the trio of Dudley, Jeczalik & Langan departed from ZTT to sign a new recording contract with Derek Green’s new China Records label where they would go on to have greater success, leaving Horn & Morley behind to form a spin-off project called Act & Art, that eventually saw the light of day, some twenty five years later.


    Work began on a new album and in October their first single for China Records, Legs [UK: #69] was released. It was from that moment on that the media began to realise that Horn & Morley weren’t the Art of Noise, but had only been a part of it and began to give trio the credit they deserved. The group appeared in a series of publicity shots by Peter Ashworth that showed their faces only to be distorted by machinery keeping themselves hidden from direct view and in March the group released their version of Peter Gunn [UK: #8], featuring their first guest artist, legendary American guitarist Duane Eddy who had already had a hit with the Henry Mancini composition in This new version was recorded in Dudley’s living room. It entered the UK singles chart on 22nd March, remaining there for nine weeks. The promotional video for the single was directed by Matt Forrest and featured comedy actor Rik Mayall in the lead role as a private detective. The track also inspired the Pet Shop Boys to write a record their track Hit Music that would appear on their album Actually. With the success of Peter Gunn, Dudley & Jeczalik made their second appearance on The Tube with a live band, minus Langan, who was producing a Spandau Ballet album. They performed Opus 4; Paranoimia and Peter Gunn with Eddy as well as on Top Of The Pops and at The Montreux Rock Festival.


    Their second album In Visible Silence was released in April and reached number eighteen in the UK charts, nine places higher than their debut album.  The album was more melodic and structured than its predecessor. The opening track was based around a poem called November by Thomas Hood in which lines of the poem were repeated into a vocal rhythm before being accompanied by keyboards. Instruments Of Darkness, a dark powerful piece highlighting apartheid in South Africa would later be released almost six years later in a remixed form by The Prodigy.

     

    On 21st June, a new version of Paranoimia entered the UK singles chart with Max Headroom as guest vocalist. The single enjoyed a nine-week chart run, peaking at number twelve and was accompanied by one of the Art of Noise’s most memorable videos directed by Matt Forrest featuring Max Headroom on a hospital trolley. This collaboration with Max Headroom came about after the Art of Noise were commissioned to come up with a new theme tune for the second series of The Max Headroom Show. In the USA the album In Visible Silence was deleted and replaced with an updated version with the original version of Paranoimia being replaced with the hit 12" extended version. As well as providing the new theme tune for The Max Headroom Show, Art of Noise also provided a new theme tune for the long running show The Krypton Factor before heading off on tour of the USA, Japan and ending at the Hammersmith Odeon in London.

     

    Late October saw the release of the single Legacy [UK: #95], based upon their single Legs with a slower tempo and a heavy bass line which transformed the track into a continuation of the original track rather than a remix. The video featured footage recorded from the show at the Hammersmith Odeon. It was taken from the album Re-Works Of Art Of Noise that was issued in the UK as a bonus LP with In Visible Silence in early December, and issued as a separate album in other countries. The album also featured the single Paranoimia along with the extended version of Peter Gunn three live tracks recoded at the Hammersmith Odeon. Also in that month, ZTT issued “daft” an expanded edition of their debut album. Those releases were the last to feature Langan as he decided to move on to continue with his own career, although he remained connected to the group.

     

    On the 24th February they were awarded Best Rock Instrumental Performance at the 29th Grammy Awards in the USA, where Dudley, Jeczalik and Eddy accepted the award for smash hit Peter Gunn. After that a video of the Hammersmith Odeon show entitled In Visible Silence was released. The video was produced and directed by Mike Mansfield with visual enhancements by George Snow & Jeczalik. It showcased how diverse the Art of Noise were, adapting themselves from their studio environment to becoming a live band featuring the talents of Dave Bronze (bass), Simon Moreton (percussion), Paul Robinson (drums) and featuring Katie Humble, Pepe Lemer & Linda Taylor (backing vocals).

     

    The Art of Noise played a key-role in two Hollywood movies of that year. The first was Disorderlies that starred the Fat Boys, where they composed, performed & produced the films entire music score. The other was the Dan Aykroyd, Alan Zweibel and Tom Mankiewicz penned box-office blockbuster Dragnet, based upon the 50’s & 60’s television series of the same name. Two versions of their track Dragnet appeared in the film. The most noticeable was in the movie’s title sequence that featured an edited version of the Arthur Baker mix. To tie-in with the film Dragnet was released as a single and spent ten weeks in the Canadian charts, the UK single had the aforementioned Arthur Baker mix as the A-side instead of the Art of Noise mix. The single entered the UK singles chart on 18th July for four weeks peaking at number sixty, however the single did far better in the Swiss charts peaking at number twenty nine. It was issued just one month after ZTT re-released the single Moments In Love [#90] prior to a new Art of Noise produced single entitled Spies was released by Eddy from his comeback album Duane Eddy.


    The group's third album In·No·Sense? Nonsense! was a departure from the previous two as it retained some of the musicians that appeared live with the band in as well as including an orchestra and choir. It was recorded over a period of eight weeks with Roger Dudley, Stuart Breed, Ted Hayton and Bob Kraushaar took over Langan’s role as engineer. Only Dragnet was issued as a single, although a four track promotional EP entitled No Nonsense was released featuring E.F.L.;One Earth; A Day At The Races and Ode To Don Jose. Also included were two tracks that sounded very familiar, Roundabout , a cut down version of A Nation Rejects (a b-sided of the 12” of Paranoimia), along with Crusoe that was developed from the (Theme From) The Krypton Factor. The album was more adventurous than the group's first two long players as for the first time orchestral and choral arrangements were used to give a modern-classical touch to certain tracks with each track flowing from one to another via links of ambient sounds. Paul Morley would write some time after that it was an "ambient masterpiece”.

     

    was a quiet year for the Art of Noise. February saw the release of Dragnet (The ’88 Mix) (aka Dragnet '88) [UK: #97] that came out at the same time as the UK release of the film but failed to chart higher than the original UK single. Dudley scored the music for the British movie Buster that starred Phil Collins and Julie Walters before she and Jeczalik teamed up with Welsh singing legend Tom Jones on a cover version of Prince’s hit Kiss [UK: #5]. The single entered the UK singles chart on the 29th October and re-launched Jones’s career bringing him a new legion of younger fans. The track was taken from The Best Of The Art Of Noise [UK: #55] that came out in three different versions in the UK. The LP contained the 7” versions, the cassette, 7” versions with 12" mixes of the tracks that featured their three guest artsts and the CD containing 12” versions. There were no less than seven different versions of the album released around the world from the release until it was deleted in

     

    The following year started off with Kiss being nominated for Best British Single at the Brit Awards in February and winning the Breakthrough Video on MTV. In March the Art of Noise released Paranoimia ’89 [UK: #90], a remix by Ben Liebrand of the In Visible Silence album version, rather than the single version that featured Max Headroom almost three years earlier. Dudley & Jeczalik teamed up with South African group Mahlathini and The Mahotella Queens led by the late Simon Mahlathini Nkabinde on the single Yebo! [UK: #63] that was taken from the final Art of Noise album Below The Waste. The album included another two tracks with that group Chain Gang and Spit. As with In·No·Sense? Nonsense! only one single was released from it. Two additional tracks, the James Bond Theme and Robinson Crusoe were included on the cassette & Compact Disc version. The sound of the entire record was a more laid back to the previous ones as it ventured into the sounds of world music and more orchestral pieces. Dudley and Jeczalik composed around 50% of their material individually. Engineer Ted Hayton was retained to co-produce the record and co-write a couple of tracks. The duo's style was now completely different to everything else that had been done up to that point. Their new sound featured fewer sampled driven pieces, as what they had pioneered over the past six years had now became commonplace within the music industry. The last track, Finale in many ways indicated that their work was done. In mid Dudley & Jeczalik announced that the Art of Noise had officially ended and both parted company.


    Part III

    THE IMAGE OF A GROUP(The ZTT Years: - )

     

    With their differences resolved, Dudley and Horn began working together again in on Seal's eponymous debut album, before moving onto Marc Almond's long player Tenement Symphony that were both released in Later that year, new interest began to grow in the disbanded Art of Noise after China Records released The FON Mixes, a techno-based remix album. Around , Jeczalik told the ZTT fanzine, Outside World, that he and Langan had travelled to Cuba to find new source material after they had both discussed reforming the group with Dudley, but sadly, nothing ever came of it.

     

    The collaboration between Horn & Dudley continued on a number of projects throughout the s including work on the second Seal album entitled Seal in The following year saw a single entitled Everybody Up and a self titled album by The Galm Metal Detectives from the BBC television series of the same name released on ZTT with writing and production work credited to Lol Creme & Trelvis Hornsley, the latter being a pseudonym of Horn's.

     

    In Horn, Creme, Dudley and Morley formed a new group called the Image of a Group. Work began on an album entitled  Balance – Music For The Eye before being completed in based around the works of Horn's favourite composer Claude Debussy. After an arrangement was made with the now retired Jeczalik to use the Art of Noise name, Horn started the album again from the beginning and gave it a more of a hard hitting sound working with a variety of co-producers including Way Out West. After testing the waters in late with the promo only 12" Dream On With The Art Of Noise All Mixed Up In Bed With Way Out West and an alternative version of the album, The Seduction Of Claude Debussy was finally released in All releases from that point on had Art of Noise* credited on the front and *as the Image of a Group on the rear of the covers.

     

    The new album featured the talents of the late John Hurt providing narration of 'the story of Debussy' throughout the body of work in a similar way to that of the late Richard Burton on Jeff Wayne’s Musical Version Of The War Of The Worlds. With pounding dance rhythms, electric guitars, drum & base and high charged orchestral arrangements The Seduction Of Claude Debussy became one of the most critically acclaimed albums of that year. It was very different from what had gone before, although it did contain a few nods towards their old material. Other guest artists included vocalist Sally Bradshaw, Donna Lewis and Carol Kenyon along with rap legend Rakim on the track Metaforce, released as a single two weeks prior to the album's release.


    The group played live in the USA before performing in London where they performed most of the album to their audience. A remix album entitled Reduction was released, packaged together with The Seduction Of Claude Debussy and later available as a separate item before it was deleted. Art of Noise also released two surround sound SACDs in , the compilation "daft" and Reconstructed…For Your Listening Pleasure, the soundtrack to their Into Vision DVD made up of performances from US & UK live shows. Once again Art of Noise had gone their separate ways until where Dudley, Horn, Creme and Paul Robinson along with Alan White from Yes performed Close (To The Edit) at the Prince’s Trust Concert – Produced By Trevor Horn. Dudley continued her career with a succession of film scores, Horn & Creme founded The Producers with Stephen Lipson leaving Morley to continue his work as a journalist, author and broadcaster. He also co-founded a new musical act called The Image of a Group with James Banbury, both of whom were responsible for remixing the majority of the Reduction remix album. The duo changed their name to Infantjoy and have so far released two albums.


    Part IV

    Dudley Jeczalik Langan Reform ( - present)

     

    On 30th November Morley and Dudley appeared with BBC Concert Orchestra at Queen Elizabeth Hall in London in a live show that was broadcast on BBC Radio 3 entitled 19eithies: The Rhythm of a Decade. The concert showcased some of the best electronic music of the s performed by the orchestra. The highlight of the show was an orchestrated version of Into Battle with The Art Of Noise. In the audience were Jeczalik, Langan and Horn, the first time that all five original members of the Art of Noise had been in the same room together in over twenty-eight years. Speculation soon began among fans that the original line-up would reform and release a new album, however this was not to be, the rumours began to fade after a while.


    Fast forward to 22nd June , as a short video entiled The Art Of Noise Workshop, At This Time appeared on the group's official YouTube channel, followed the next day by another, The Art Of Noise Wait Patiently. (What Are You Waiting For?). Nobody knew what it meant, to some it indicated that a new album was being recorded, to others it was hope that the albums In Visible Silence; In·No·Sense? Nonsense! and Below The Waste were going to be reissued as deluxe editions. The debate of fans continued as to what was going on, with only a small number of people in the know remaining silent about the Art of Noise's activities. Every so often Jeczalik would tell people on social media to be patient whenever the question of reissues were asked.

     

    Six months after the the first short video appeared, a third one appeared on the 21st January , then two days later an anouncement that shocked and excited the majority of fans, under the name Dudley Jeczalik Langan, they were to reboot Art of Noise's In Visible Silence live in concert at Liverpool Waters Clarence Dock. The show took place a week after the release of the deluxe edition of the group's biggest selling album. News of the deluxe package was officially released on 31st March, where it was revealed that the trio had been busy remastering it for its release and including previously unreleased material. On 2nd & 4th September they performed live in Japan at Billboard Live Tokyo to further promote the album.


    To be continued

    Sours: https://theartofnoiseonline.com/The-Art-of-Noise.php
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    Art of Noise

    Not to be confused with The Art of Noises.

    Art of Noise

    Dudley, Morley, Creme and Horn (from the fourth and final Art of Noise line-up in –)

    Dudley, Morley, Creme and Horn (from the fourth and final Art of Noise line-up in –)

    Also known asThe Image of a Group, Vision
    OriginLondon, England
    GenresSynth-pop, electronic, avant-garde, new wave, sampledelia
    Years active[1][2][3]

    LabelsZTT, Island, China, Chrysalis, Polydor, Universal
    Associated actsYes, The Buggles, The Trevor Horn Band, The World's Famous Supreme Team, Malcolm McLaren
    Websitetheartofnoiseonline.com
    Past membersAnne Dudley
    J. J. Jeczalik
    Gary Langan
    Trevor Horn
    Paul Morley
    Lol Creme

    Art of Noise (also The Art of Noise) were an English avant-gardesynth-pop group formed in early [2][3][4] by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with keyboardist/arranger Anne Dudley, producer Trevor Horn, and music journalist Paul Morley.[5] The group had international Top 20 hits with its interpretations of "Kiss", featuring Tom Jones, and the instrumental "Peter Gunn", which won a Grammy Award.

    The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-theth-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators. The band is noted for innovative use of electronics and computers in pop music and particularly for innovative use of sampling.

    From the earliest releases on ZTT, the band referred to itself as both Art of Noise and The Art of Noise. Official and unofficial releases and press material use both versions.

    History[edit]

    Beginnings[edit]

    The technological impetus for the Art of Noise was the advent of the Fairlight CMIsampler, an electronic musical instrument invented in Australia. With the Fairlight, short digital sound recordings called samples could be "played" through a piano-like keyboard, while a computer processor altered such characteristics as pitch and timbre. Music producer Trevor Horn was among the first people to purchase a Fairlight. While some musicians were using samples as adornment in their works, Horn and his colleagues saw the potential to craft entire compositions with the sampler, disrupting the traditional rock aesthetic. (Others were also working contemporaneously toward this goal, such as Jean-Michel Jarre, Yello, and Tony Mansfield, who had made extensive use of the Fairlight for the eponymous debut album by Naked Eyes, while Yellow Magic Orchestra had extensively used sampling on their album Technodelic).

    In , Horn's production team included programmer J. J. Jeczalik, engineer Gary Langan and keyboard player/string arranger Anne Dudley.[6] The team produced ABC's debut album The Lexicon of Love, increasingly using the Fairlight to tweak live-based elements of performance but also to embellish the compositions with sound effects such as a cash register's bell on "Date Stamp" (Dudley also co-wrote a track on the album, which launched her scoring career). The team also worked on Malcolm McLaren's album Duck Rock and would go on to work with Frankie Goes to Hollywood on what would become the album Welcome to the Pleasuredome (realised predominantly on Fairlight).

    During January , Horn's team were working on the Yes comeback album – Horn as producer, Langan as engineer, and Dudley and Jeczalik providing arrangements and keyboard programming. During the sessions, Jeczalik and Langan took a scrapped Alan White drum riff and sampled it into the Fairlight using the device's Page R sequencer (the first time an entire drum pattern had been sampled into the machine). Jeczalik and Langan then added non-musical sounds on top of it, before playing the track to Horn. This in turn resulted in the Red & Blue Mix of Yes' "Owner of a Lonely Heart" single, which showcased the prototype sound of The Art of Noise.

    Seeing further potential in the idea, Horn teamed Jeczalik and Langan with Dudley in February to develop the project and brought in one of his business partners, ex-NME journalist Paul Morley, as a provider of concepts, art direction and marketing ideas. Morley came up with the project name (taken from the essay "The Art of Noises" by noted futuristLuigi Russolo, and finalised at Jeczalik's request by dropping the final 's'). Much later, in a July article penned for The Guardian, Morley wrote "I loved the name Art of Noise so much that I forced my way into the group. If over the years people asked me what I did in the group, I replied that I named them, and it was such a great name, that was enough to justify my role. I was the Ringo Starr of Art of Noise. I made the tea. Oh, and I wrote the lyrics to one of the loveliest pieces of pop music ever, Moments in Love."[7] Horn himself joined the new group as production advisor and provider of further ideas. This was the first time that he had been part of a group since parting company with his The Buggles' partner Geoff Downes (after they had been part of Yes). It would also be the first and last time that he would enjoy chart success as an artist since the new wave hit in with "Video Killed the Radio Star".

    Who's Afraid of the Art of Noise? (–)[edit]

    The debut Art of Noise EP, Into Battle with the Art of Noise, appeared in September on Horn's fledgling ZTT label.[6] Many of the samples originally used on reappeared on the EP, which immediately scored a hit in the urban and alternative dance charts in the US with the highly percussive, cut-up instrumental track "Beat Box", a favourite among body-poppers. The track has often been mistakenly credited by some to be the theme tune for the ITV game show The Krypton Factor. "(Theme From) The Krypton Factor" was actually composed and recorded in and was reworked as "Crusoe" on their album.

    The first Art of Noise album, Who's Afraid of the Art of Noise? was released in [6] During this period, the group presented themselves as faceless (using masks, minimal personal appearances, or even absence from promotion to indicate that the Art of Noise was not a standard rock or pop band which promoted and mythologised its members as individuals).

    Anne: When the group first started, we thought it would be a good idea to have an image that wasn't based around a fashion look. We thought it would encourage people to look at the music instead of the members of the band. It didn't last for long, though.

    Gary: It really doesn't seem a lot different, actually; the responsibility a lot more different; it's probably more fun, more risk to it.

    Anne: There's a very big risk in America because they think we're black; we were voted the second best new black act. We are wondering how we can quite cope with this.

    Gary: There was at one point there came along an instrument that nobody had really used and we were lucky that we had one we could use. There are certain things you can do with it that you're not able to do with anything else. So it was a question of experimenting with that, and things really took off from there.

    Anne: This is the famous Fairlight music computer, which you may have heard of.

    Gary: Which plays an important part. I really think that the music is more important than the personality. The fashion around a personality seems to change a lot quicker than that around music.

    —&#;Gary Langan and Anne Dudley, BBCBreakfast Time interview

    "Moments in Love", a ten-minute instrumental ode to sensuality that appeared on both Into Battle and Who's Afraid, was remixed and released as a single in The song was first released in the US in , where it was a moderate hit on the US R&B singles chart. It was played at one of Madonna's weddings; sampled by Mýa in her hit single "It's All About Me," which featured Sisqó; used in the soundtrack of the movie Pumping Iron II: The Women; featured in the Indian movie KoiMil Gaya; name-dropped in the opening pages of Sister Souljah's novel Midnight and the Meaning of Love (as "Moments of Love"); used in a number of advertisements; and remixed, covered, and sampled by numerous other artists. It has also appeared in numerous chill out compilations and has become a staple of smooth jazz radio station playlists. "Moments in Love" has been remixed many times, with names such as "Moments in Bed" and "Moments in love 7" Master Rejected". Most "Moments in Love" remixes can be found in the box set And What Have You Done with My Body, God?.

    An October feature in Smash Hits magazine indicated several of Morley and Horn's plans for the group's subsequent projects. These included a cover of "Video Killed the Radio Star", originally by The Buggles (Horn and Geoff Downes); Raiding the 20th Century, an album using sounds from throughout the 20th century as source material; the score for The Living End, a film written by Morley and directed by Godley & Creme; and the soundtrack for a ballet.[8]

    "Close (to the Edit)" was issued in October that year. The single was Art of Noise's first major UK hit, reaching number eight in the UK Singles Chart in November [6]

    Split of original line-up ()[edit]

    In , Dudley, Jeczalik, and Langan made an acrimonious split from Morley and Horn as well as from the ZTT label.[6]

    In a post-split interview for Melody Maker in October , Jeczalik indicated that he and Morley did not get along and that he felt Morley's writing was pretentious. Jeczalik responded to a question about the level of Morley and Horn's involvement in Who's Afraid by saying, "It's difficult to tell. We say approximately percent, but it could even be as high as two percent. You see, all that has happened is that Gary and I started something, it was taken away, and we have taken steps to get it back." In the same interview, Dudley indicated she felt parts of Who's Afraid were of dubious quality.[9]

    Much later, Morley would comment "When Trevor and I left, (Jeczalik, Langan and Dudley) became a novelty group who had hits with Tom Jones." His disdain for the artistic direction of The Art of Noise once he was no longer involved with it was even more evident in other articles he penned, including the liner notes of the compilation album Daft (under the name Otto Flake) and a September article for The Observer.[7]

    In Visible Silence ()[edit]

    After the split, Dudley, Jeczalik, and Langan moved to the UK-based China Records label, taking the Art of Noise name with them.[6] Some of the band's original imagery and ethos was retained for their second album, In Visible Silence. This album spawned the Grammy Award-winning cover of the Peter Gunn theme, recorded with Duane Eddy, who had a hit with Peter Gunn in [6] The Art of Noise collaboration reached number two on the Billboard dance charts.[10] The Peter Gunn video featured comedian Rik Mayall in a parody of the private eyefilm genre. The piece would later be used as the theme music for the BBC TV series Bill Oddie's Wild Side.

    From the same album, the "Beat Box"-like single, "Legs," was a mild underground hit in dance clubs. In , the album track "Paranoimia" achieved some success when a remix of it was released as a single with overdubbed vocal samples provided by Matt Frewer as the supposedly computer-generated character Max Headroom.[6] Frewer also appeared as Max Headroom in the music video for the track.

    Around , Jeczalik and Dudley started appearing in photographs without masks, alienating some fans that had come to appreciate Morley's "art for art's sake" aesthetic. The upcoming soundtrack pieces continued The Art of Noise's evolution into a pop band and away from Morley's faceless "non-group."

    In No Sense? Nonsense!, Below the Waste, and the split (–)[edit]

    By , the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album In No Sense? Nonsense![6] &#;The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley. It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No. 60 on the UK Singles Chart.

    In , The Art of Noise provided the score for two movies, Hiding Out and Dragnet, and one particular movement was used in both films. Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene—an armed chase through the rafters of a gymnasium—near the end of Hiding Out.

    In , a one-off collaboration with singer Tom Jones (a cover of Prince's "Kiss" — a staple in Jones' stage shows) renewed the public's interest in the Art of Noise and provided the group's biggest hit in the mainstream.[6] The track appeared on several albums by Jones, and China Records included the song on the greatest hits compilation The Best of The Art of Noise, the first edition of which also contained tracks licensed from ZTT.

    The follow-up album, Below the Waste, failed[citation needed] to achieve much success upon its release in [6] It did spawn the memorable single "Yebo!" (featuring the unique vocals of Zulu performers Mahlathini and the Mahotella Queens). Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme".

    In , Dudley and Jeczalik declared that the Art of Noise had officially disbanded.[6]

    Interim (compilations, failed reformations and solo work)[edit]

    Although Dudley and Jeczalik had already dissolved the group, in they assisted in the promotion of the lightly remixed compilation The Ambient Collection, which the China label released to cash in on the burgeoning ambient house scene. Jeczalik approved the remixes that appeared on The FON Mixes the following year. The rest of the decade saw China Records releasing further Art of Noise compilations: The Drum and Bass Collection, Art Works, and reissues of Best of without the ZTT-era tracks. Some of these featured new remixes by other artists.

    According to an interview with J.J. Jeczalik reported in the ZTT fanzine Outside World in , Jeczalik, Dudley and Langan were inspired by the commercial success of The FON Mixes and had discussed reuniting the group as a trio again. In preparation to record a new album, Jeczalik and Langan travelled to Cuba to gather new source material. However, no new recordings were produced with the new line-up, and the Art of Noise remained defunct.

    Dudley became well known for composing numerous film and television scores during the s. The most famous of these is probably The Full Monty, which won an Academy Award for Original Music Score. She also collaborated with Killing Joke's Jaz Coleman on the album Songs from the Victorious City[6] (inspired by a trip the two made to Egypt) and produced two tracks for the Deborah Harry album Debravation ("Strike Me Pink", which she also co-wrote and played keyboards on, and "Mood Ring"). She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album Voice for her neighbour Alison Moyet. Cathy Dennis added lyrics to one of Dudley's compositions and recorded it as "Too Many Walls", which became a US Top 10 hit in

    In –, Jeczalik and In No Sense? Nonsense! coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk. Jeczalik also embarked on a new career in trading in futures contracts.

    The Art of Noise also received a full writing credit for The Prodigy's "Firestarter", which samples the female "hey, hey" voice from "Close to the Edit". The Prodigy also contributed the remix "Instruments of Darkness (All of Us are One People)" to the compilation The FON Mixes. Also, an edited version of "Close to the Edit" is featured on the monthly educational Amiga game, Ready Robot Club. The Art of Noise are also credited for the music to the ITV series The Krypton Factor.

    The reunion and The Seduction of Claude Debussy (–)[edit]

    In , Horn, Morley, and Dudley began talking about the original intent of the project, its relevance in 20th-century music, and the impending turn of a new century. The group temporarily reformed, adding guitarist Lol Creme, but without J.J. Jeczalik and Gary Langan. Their engineering, programming and production tasks were carried out by dance act Way Out West. An album was recorded – Balance – Music for the Eye – but was never released, although several tracks from this project were included on the retrospective album Influence.[11] and the whole album was released as part of At the End of the Century box set.[12] Instead, a new single called "Dream On" — which featured remixed versions of the forthcoming album track, "Dreaming in Colour" — was released to club DJs later in , showcasing mixes by Way Out West.

    A second single, "Metaforce", featuring a rap by Rakim, preceded the release of the concept album The Seduction of Claude Debussy, a cohesive concept album depicting the life and works of Claude Debussy, on the ZTT label.

    This album later formed the basis of a minute soundtrack for London's Millennium fireworks celebrations on the banks of the River Thames. The firework display was synchronised to an edit of "Seduction" which also featured a collage of samples from some of Britain's most famous pop and rock songs, plus classical composers. It was broadcast live on Capital FM and BBC London Trevor Horn worked on the project with Jill Sinclair, Bob Geldof, Capital Radio executive Clive Dickens and producer Ross Ford.[citation needed]

    After performing a handful of live shows in the UK and US, the band dissolved. A DVD (Into Vision) and CD (Reconstructed) were released in and respectively, featuring music recorded and filmed in Chicago, at the Coachella Festival (10 September ), at the Shepherd's Bush Empire (22 March ) and Fountain Studios, Wembley, London (1 June ).

    Recent work[edit]

    A reunion of sorts occurred at a 30 November live performance by the BBC Concert Orchestra (with a live BBC radio broadcast) including Dudley's orchestral arrangement of the band's EP Into Battle and a new piece entitled "Rhythm of a Decade" by Dudley and narrated by Morley.[13] In their programme notes, they explain "Rhythm of a Decade" was inspired by an unreleased Art of Noise piece: "Of the many Art of Noise albums that did not appear – even if they were recorded – was one that set out to represent various decades through the rhythms that appeared during that particular decade – charting the development of rhythmical patterns and the physical changes in drum sounds throughout the s, s, s, s and s".[14]

    Art of Noise performing live at Liverpool Sound City in May

    On 25 May Art of Noise officially rebooted with original members Langan, Dudley and Jeczalik performing at Liverpool Sound City as special support for The Human League during the festival's Pioneers of British Electronic Music.

    The band appeared again in rebooted form when they played highlights from their In Visible Silence album plus other career highlights as "Dudley, Jeczalik, Langan" at the British Library in London on 9 March as part of the library's "Season of Sound" celebrating years of recorded sound. This performance included a recorded video intro and outro from Paul Morley.

    Re-releases[edit]

    In , a "20th Anniversary Edition" of Into Battle was released the first time in CD form in Germany, including bonus tracks and a bonus DVD of their promo videos and a selected discography slideshow of album art. The CD substituted the original version of "Beat Box" with the later "Diversion One".

    In early , the Karvavena label released an Art of Noise tribute album, The Abduction of The Art of Noise. This album contains covers of various tracks, including a new version of "Beat Box" performed by J.J. Jeczalik under his Art of Silence moniker. saw Dudley and Horn perform "Close (To the Edit)" together at a The Prince's Trust charity event.

    In , Lol Creme and Trevor Horn formed Producers, a band made up of renowned record producers and musicians. Gary Langan is the band's audio engineer.

    21 August saw ZTT release a 4-CD Art of Noise box set, titled And What Have You Done with My Body, God?, which consisted of tracks exclusively from the –85 ZTT era, from the initial tentative demos created by Gary Langan and J.J. Jeczalik in the wake of the Yes sessions, to selections from the Ambassadors Theatre performances featuring Horn and Morley, recorded at concerts profiling ZTT acts—prior to which, Langan, Jeczalik, and Dudley had abandoned the label (and, for the time being, the band). The set featured over 40 unreleased remixes, demos, and works in progress, as well as the complete vinyl version of Into Battle – sourced from the original masters – for the first time on CD. The project was conceived, researched and compiled by music journalist (and Art of Noise aficionado) Ian Peel, who also wrote the box set's accompanying page book, which featured new interviews with all of the original members.

    In April , Peel continued his archiving of classic and vaulted ZTT material, now named the Element Series, with a Deluxe Edition reissue of Into Battle with the Art of Noise. This was intended to be the first of a chronological remastering and repackaging of the Art of Noise's output, collating the original album or EP with extended and previously unavailable tracks. Who's Afraid of the Art of Noise?, considered the first 'true' AON album, was released as a Deluxe Edition on 19 September

    In May , a two-disc deluxe edition of In Visible Silence was released. Included is the remastered album, along with several remixes and B-sides, taken from previous 12" singles and available on CD for the first time. Also included are outtakes and unreleased material from the group's time with China Records. Shortly thereafter, a similar deluxe edition of their next album, In No Sense? Nonsense! was released.

    Other work[edit]

    The Art of Noise wrote and recorded the theme music to the popular British game showThe Krypton Factor which was used from to ; the group also composed the short music pieces which introduced each of the six rounds. The group also composed and performed the opening theme for the third series of the chat show, The Max Headroom Show.

    Influence and other compilations[edit]

    ZTT Records and Salvo released a new retrospective album titled Influence in July The album includes the hits, the collaborations, soundtracks and unreleased material spanning both the ZTT & China Records periods. saw the unwelcome release of a European budget price double album "The Best Of" that was basically "Influence" with all of the China Records material omitted and replaced with various tracks from "Into Battle", "(Who's Afraid Of) The Art Of Noise!" and "The Seduction Of Claude Debussy". In , ZTT/Salvo issued a two CD and single DVD set called "At The End Of A Century," combining the unreleased "Balance – Music for the Eye" album and a Trevor Horn mix of "The Seduction of Claude Debussy" with its mixes of the unreleased second single "Dreaming In Colour."

    Discography[edit]

    Main article: Art of Noise discography

    DVD and video[edit]

    Band members[edit]

    See also[edit]

    References[edit]

    1. ^Bogdanov, Vladimir (). All Music Guide to Electronica: The Definitive Guide to Electronic Music (4th&#;ed.). Backbeat Books. p.&#; ISBN&#;.
    2. ^ abO'Gorman, Martin (July ). "Who's Afraid&#;?". Record Collector.
    3. ^ abHenry, Julian (April ). "so who exactly are "the art of noise"???? part 1". NoiseSpeak (Fan Newsletter).
    4. ^Morley, Paul (). "Art of Noise". That this is written by Morley is revealed by the appearance of the first half in the press materials for the Influence compilation and on the ZTT website as "Art of Noise, a biography by Paul Morley".
    5. ^Strong, Martin C. (). The Great Rock Discography (5th&#;ed.). Edinburgh: Mojo Books. pp.&#;31– ISBN&#;.
    6. ^ abcdefghijklmColin Larkin, ed. (). The Virgin Encyclopedia of Popular Music (Concise&#;ed.). Virgin Books. p.&#; ISBN&#;.
    7. ^ ab"Zang Tuum Tumb and all that &#; Articles &#; Somebody down there loathes me". Zttaat.com. 1 September Retrieved 23 June
    8. ^"Zang Tuum Tumb and all that &#; Articles &#; Who or what is the Art of Noise?". Zttaat.com. 25 October Retrieved 23 June
    9. ^"Zang Tuum Tumb and all that &#; Articles &#; Is anybody still afraid of the Art of Noise?". Zttaat.com. 19 October Retrieved 23 June
    10. ^Whitburn, Joel (). Hot Dance/Disco: –. Record Research. p.&#;
    11. ^"ZTT website: The Art of Noise will return". Ztt.com. Archived from the original on 10 June Retrieved 23 June
    12. ^"Coming up on 2nd February: 2 new deluxe - ZTT Records (Official) - Facebook".
    13. ^[1]Archived 27 August at the Wayback Machine
    14. ^"19 eighties", BBC Concert Orchestra programme for Saturday 30 November , p. 14

    External links[edit]

    Sours: https://en.wikipedia.org/wiki/Art_of_Noise
    Art Of Noise - Moments In Love (1985) HD

    And what has jealousy to do with it. if it will be pleasant and enjoyable for both of us, then jealousy has no place here. even if you look at the swingers, no one says that this is bad, and there are many happy people among them. Besides, they really realize their fantasies with a loved one. but those who have a misunderstanding in a relationship who are looking for this realization on the side behind the partner's back, and they try.

    Art of noise youtube

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    Art Of Noise - Moments In Love (The Ultimate Love Mastermix)

    He said his reply hello rather automatically than meaningfully, while Nikitin's gaze was unintentionally - just as involuntarily as hello. Slipped down, and Nikita. for a moment Nikita was dumbfounded - not frightened and not even embarrassed, namely, he was dumbfounded: Andrey's member, long and thick, frankly.

    Reared up, stood, crimsonly pricked with a moist, juicy head.

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    There the act was as it is. Neither special lighting, nor the presence of many spectators changed it. I have never written stories, let alone erotic content, even more so. But after reading the opuses, found in great variety on the Internet, I decided, why not actually try. In the end, I risk nothing, and I dont aspire to the glory of a great writer.



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