The Art of Noise Albums (5)
'The Seduction of Claude Debussy'
Release Date 6/15/1999
Tracks 13
Label ZTT/Universal
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What The Critics Say
More than ten years after the Art of Noise left Trevor Horn's ZTT label to record on their own, original members Anne Dudley and Paul Morley reunited with Horn plus 10cc's Lol Creme to record another LP, organized around the work of French modernist composer Claude Debussy. With a guest list including John Hurt as well as Rakim, the album charts the artistic use of sampled breakbeats -- pioneered by the Art of Noise themselves -- with nods to '80s hip-hop plus their '90s equivalent, drum'n'bass. Though the Art of Noise doesn't sound quite as brash as they did in their '80s prime, The Seduction of Claude Debussy is an interesting showcase of what made the group great. ~ Keith Farley, All Music Guide
'Below the Waste'
Release Date 1/1/1989
Tracks 14
Label China/Polydor
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'In No Sense? Nonsense!'
Release Date 1/1/1987
Tracks 16
Label China/Chrysalis
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What The Critics Say
In No Sense? Nonsense! contains some of the Art of Noise's most compelling work. With this album, Anne Dudley and company expanded their new wave experiments to include more instrumental firepower. In addition to full rock band production (including electric guitars, drums, and synthesizers), this record makes use of brass band, orchestral, and choral music. The result is about as rich and complex as they ever got. In No Sense? Nonsense! is probably best known as the album that included their take on the theme from the '50s cop show Dragnet, used in the 1987 film version that starred Dan Akroyd and Tom Hanks. That track is certainly the most accessible on the record, but it somehow seems a little too punchy for the primary ambient pop surroundings. It might fit better on a different album. This record is more notable for tracks like "How Rapid?" and "Opus for Four" that engage in fanciful genre blending. At times, the sound almost begins to anticipate later ambient dance artists like Enigma and DJ Shadow. But the Art of Noise are aptly named and consequently limited. Their artful noise collage lacks the visceral impact afforded by those later bands. In No Sense? is more often interesting than beautiful. ~ Evan Cater, All Music Guide
'In Visible Silence'
Release Date 1/1/1986
Tracks 12
Label China/Chrysalis
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What The Critics Say
AON hit their stride with the release of this record, while showing their colors in the choices of material -- while the usual offbeat AON elements were present, so was "Peter Gunn," with Duane Eddy guesting on guitar. Another AON hit, "Legs," was present, as was the original version of "Paranoimia," enhanced in its single versions by the addition of routines from Max Headroom performed by Matt Frewer, who would later play the digital ding-a-ling on a short-lived TV series. The Frewer versions replaced the original on some pressings, including the original CD, but the original version has since been restored, with both Frewer versions now confined to best-of collections. ~ Steven McDonald, All Music Guide
'(Who's Afraid Of?) The Art of Noise!'
Release Date 1/1/1984
Tracks 9
Label ZTT/Island
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What The Critics Say
Art of Noise's first full album, (Who's Afraid Of?) The Art of Noise!, consolidated the future shock of the earlier EPs and singles in one entertaining and often frightening and screwed-up package. Rarely has something aiming for modern pop status also sought to destroy and disturb so effectively. The most legendary song is still "Close (To the Edit)," benefiting not merely from the innovative video but from its strong funk groove and nutty sense of humor in the mostly lyric-less vocals, not to mention the "hey!" vocal hook the Prodigy would sample for "Firestarter." Its close cousin, the title track, brilliantly blends a nagging bass synth, echoed drum, and percussion fills and constantly shifting vocal cut-ups, random noises, and strange melodies. They're just two highlights on this prescient release, though. Part of the thrill of Who's Afraid is the sense of juxtaposition and playing around, something still not very common in music and even less so in the pop music genre. The blunt political protest of "A Time for Fear (Who's Afraid)" and the more abstract "How to Kill," achieved via appropriate sampling, slams right up against the rough beat sonics and serene orchestration. If such material had appeared on Rephlex or even DHR in the mid- to late '90s, few would have been surprised. Things aren't all dour and gloomy, though; "Beat Box" captures heavy grooves from said source with quirky vocal bits and soft vibes. Patented Trevor Horn orchestral stabs surface throughout, while Anne Dudley's knack for gentler shadings and dramatic arrangements also comes through clearly, something that would surface ever more strongly in her freelance production career. The full ten-minute version of "Moments in Love" is perhaps her triumph here, a seemingly pretty instrumental turned increasingly strange. ~ Ned Raggett, All Music Guide
