Art of Noise
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225417357
2008-07-13T16:04:14Z
64.131.210.86
{{Infobox musical artist <!-- See Wikipedia:WikiProject Musicians -->
| Name = Art of Noise
| Img =
| Img_capt =
| Img_size = <!-- Only for images narrower than 220 pixels -->
| Landscape =
| Background = group_or_band
| Alias =
| Origin = [[London]], [[England]]
| Genre = [[Synthpop]], [[Avant-garde]], [[ambient music|Ambient]], [[New Wave music|New Wave]]
| Years_active = 1983 - 2000
| Label = [[ZTT Records|ZTT]]<br>[[China Records|China]] |
| Associated_acts =
| URL = http://www.myspace.com/artofnoiseoffical
| Current_members =
| Past_members = [[Anne Dudley]]<!--(1983-1990, 1998-2000)--><br>[[J.J. Jeczalik]]<!--(1983-1990)--><br>[[Gary Langan]]<!--(1983-1986)--><br>[[Trevor Horn]]<!--(1983-1985, 1998-2000)--><br>[[Paul Morley]]<!--(1983-1985, 1998-2000)--><br>[[Lol Crème]]<!--(1998-2000)-->
}}
[[Image:Art of Noise Picturedisk.jpg|thumb|240px|Art of Noise Edited twelve inch single featured the iconic Art of Noise mask]]
'''Art of Noise''' were an [[avant-garde]] [[synthpop]] group formed in 1983 by producer [[Trevor Horn]], music journalist [[Paul Morley]], and session musicians/studio hands [[Anne Dudley]], [[J.J. Jeczalik]], and [[Gary Langan]]. The group's mostly instrumental compositions were novel and often clever melodic [[sound collage]]s based on digital [[sampler (musical instrument)|sampler]] technology, which was new at the time. Inspired by turn-of-the-century revolutions in music, the Art of Noise was initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators. The band is noted for their innovative use of [[electronics]] and [[computers]] in [[pop music]] and particularly for innovative use of [[sample (music)|sampling]]. The name of the group alludes to the essay [[The Art of Noises]] by noted [[Futurism (art)|futurist]] [[Luigi Russolo]].
From the earliest releases on ZTT, the band referred to themselves as both '''Art of Noise''' and '''The Art of Noise'''. The version with the article "the" was often preferred by third parties. To add to the confusion, both official and unofficial releases and press material from the same releases use both versions, but '''Art of Noise''' is preferred.
==History==
=== Beginnings ===
In 1983, Trevor Horn, who had achieved a [[New Wave music|New Wave]] hit in 1979 with "[[Video Killed The Radio Star]]" (recorded with [[Geoff Downes]] under the name [[Buggles]]), was working in the studio with [[Yes (band)|Yes]] on what would become the album ''[[90125 (album)|90125]]'' and with [[Frankie Goes to Hollywood]] on what would become the album ''[[Welcome to the Pleasuredome]]''. In his employ were keyboardist/arranger Anne Dudley, keyboardist/programmer J.J. Jeczalik, and mixing engineer Gary Langan. The team had first assembled in 1981 to produce [[ABC (band)|ABC]]'s ''[[The Lexicon of Love]]'' album, which led to an instant increase in profile for all concerned. Though other possibilities are quite feasible, the most universal element in the group's naming seems to be the ubiquitous, bargain-bin "Art of..." classical releases put out by second-rate record companies.
The technological impetus for the Art of Noise was the advent of the [[Fairlight CMI]] sampler, an electronic musical instrument invented in Australia that Horn was reportedly among the first to purchase. With the Fairlight, short digital sound recordings called [[Sampling (music)|samples]] could be "played" through a pianolike keyboard, while a [[computer processor]] altered such characteristics as [[Pitch (music)|pitch]] and [[timbre]]. While some musicians were using samples as adornment in their works, Horn and his companions saw the potential to craft entire compositions with the sampler, tossing the traditional rock aesthetic out the window, or at least turning it on its ear. It should be noted that others were working contemporaneously towards this goal (see [[Jean Michel Jarre]] and [[Yello]]). Producer and musician [[Tony Mansfield]] had made extensive use of the Fairlight for [[Naked Eyes]]' eponymous debut album (the first pop album to feature such a hefty dose of the CMI). Horn had previously put the sampling keyboard to great use on ''[[The Lexicon of Love]]'', mostly in order 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").
Samples—some borrowed from other pieces of music, such as the baritone "dum" from "Leave It" by [[Yes (band)|Yes]], but most coming from original sources—were bathed in reverb to mask the early sampler's low fidelity (or to give a "concert hall" acoustic effect). One might imagine the voice of Elvis Presley's first syllable from the chorus of "I Can't Help Falling in Love with You" popping up on the first album. In the studio, these sounds were then assembled into various instrumental arrangements and sound collages. At first, this was done with very little input from musicians "playing" instruments as they would in a typical band, but later works introduced traditional instruments as well.
In February 1983—with Paul Morley providing much of the band's art direction—Horn, Dudley, Jeczalik, and Langan formed the initial incarnation of The Art of Noise. The group's debut EP, ''[[Into Battle with The Art of Noise]]'', appeared in September 1983 on Horn's fledgling [[ZTT Records|ZTT]] label. It immediately scored a hit in the urban and alternative dance charts in the [[United States|USA]] with the highly percussive, cut-up instrumental track "[[Beat Box (song)|Beat Box]]," <!-- wikilink removed because this title does not refer to the beatboxing technique of the linked article, but rather it shares its origin with the title as being what was a slang term for a cassette player/radio --> a favorite among [[popping|poppers]].
The base hook of this song was also famously featured, with the addition of a synthesizer melody over the top of it, as the theme tune to popular [[ITV]] game show [[The Krypton Factor]].
: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.
<ref>Interview with Selina Scott and Nick Ross, BBC Breakfast Time, on the release of "Legs" single
{{Listen|filename=Art of Noise Interview on Breakfast Time.ogg
|title=Art of Noise Interview on Breakfast Time excerpt|description=An excerpt from ''Art of Noise Interview on Breakfast Time''}}
</ref>
=== Art for art's sake ===
Morley managed the packaging of the project as a faceless "nongroup": a work of art, itself, that merely existed. Band members never appeared in photos without masks, and sleeve art was filled with [[manifesto]]s, quotes, photographs, and graphic design elements that stood in stark contrast to the unimaginative photo-of-the-band-and-some-lyrics motifs that were typical at the time. Musically, aside from the cleverness of deftly juxtaposing found sounds, the project was also intended to pay homage to the influence of [[Claude Debussy]], who revolutionized popular music at the beginning of the 20th century, and to the sonic "Art of Noises" experiments of [[Italian people|Italian]] [[Futurism (art)|Futurist]] [[Luigi Russolo]].
The early [[music video|videos]] for "[[Close (To the Edit)]]," directed by Zbignew Ribchinsky and Andy Morihan, were groundbreaking and unusual, becoming cult favorites on [[MTV]]. Critics' reviews of ''[[Into Battle with The Art of Noise|Into Battle]]'' and the more fully realized ''[[Who's Afraid of The Art of Noise?]]'' album (1984) were mixed, with some hailing the group's unique [[deconstruction|deconstructive]] approach to sound and song construction, and others dismissing the group as a pretentious novelty band.{{Fact|date=October 2007}}
{{Listen|filename=Art of Noise — Close (To the Edit) excerpt.ogg|title=The Art of Noise — Close (To the Edit) excerpt|description=An excerpt from ''Close (To the Edit)''.}}
=== Changes ===
[[Image:Moments in Love Picture Disk.jpg|thumb|width 200px|right|"Moments In Love" picture disk.]]"Moments In Love"—a ten-minute, [[downtempo]], instrumental ode to sensuality that appeared on both ''Into Battle'' and ''Who's Afraid''—was remixed and released as a single in 1985 (first released in the USA in 1983, where it was a moderate hit on the U.S. R&B singles chart). It was played at [[Madonna (entertainer)|Madonna]]'s wedding; used in the soundtrack to the movie ''Pumping Iron II: The Women''; used in a number of advertisements; and remixed, covered, and sampled by other artists for years afterward. It has also appeared in numerous [[chillout music|chill out]] compilations and has become a staple of [[smooth jazz]] radio station playlists.
It was also around 1985 that Dudley, Jeczalik, and Langan made an acrimonious split from Morley and Horn as well as from the ZTT label. The circumstances of the reorganization were never well-publicized, but several sources indicate that there were disputes over creative control:
*An October 1984 feature in ''[[Smash Hits]]'' magazine indicated that Morley and Horn planned for the group to produce a number of projects that were much different from what was produced after the split. Planned was 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]].[http://www.zttaat.com/article.php?title=107]
*On [[May 25]], [[1985]], the trio reportedly walked out on Morley and Horn just before a ZTT showcase performance, ''The Value of Entertainment'', that was to run for two weeks at the Ambassadors Theatre in London. The sudden departure left Morley to improvise a performance consisting of his reading an essay over Art of Noise recordings and three people dancing to "Beat Box" and "Close (To the Edit)."[http://www.gleeson0.demon.co.uk/artnoise.htm] Part of the spoken-word portion of the performance was subsequently released on the ZTT compilation album ''Sampled''.
*In an interview for ''[[Melody Maker]]'' in October 1985, Jeczalik indicated that he and Morley didn't 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 1.73 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.[http://www.zttaat.com/article.php?title=287]
*In a July 2002 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. When Trevor and I left, they became a novelty group who had hits with Tom Jones.'' His disdain for the artistic direction of the group when he wasn't in control of it was even more evident in other articles he penned, including the liner notes of the 1986 compilation album ''Daft'' (under the name Otto Flake) and a September 2002 article for ''[[The Observer]]''.[http://www.zttaat.com/article.php?title=23].
[[Image:Art of Noise Peter Gunn.jpg|thumb|150px|Art of Noise:<br>"Peter Gunn."]]After the split, the remaining members moved to the UK-based [[China Records]] label, keeping some of the band's original imagery and ethos alive in their second album, ''[[In Visible Silence]]''. This album spawned the [[Grammy Award]]-winning cover of the ''[[Peter Gunn]]'' theme, recorded with twangy [[guitar]] legend [[Duane Eddy]], reprising the lead rather than just being sampled. The ''[[Peter Gunn]]'' video featured comedian [[Rik Mayall]] sending up the private eye. From this same album, the "Beat Box"-like single, "Legs," was a mild underground hit in dance clubs, and in 1986, "Paranoimia" achieved some success when a remix of it was released as a single with overdubbed vocal samples provided by the supposedly computer-generated character [[Max Headroom (Character)|Max Headroom]].
Around 1986, 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 "nongroup."
{{Listen|filename=From Hammersmith to Tokyo and Back (Live).ogg
|title=From Hammersmith to Tokyo and Back (Live) excerpt|description=An excerpt from ''From Hammersmith to Tokyo and Back (Live)''.}}
[[Image:ArtPoster.jpg|thumb|150px|Art of Noise concert poster (1986)]]By 1987, the band's membership was down to just Jeczalik and Dudley. That year saw the release of their album ''[[In No Sense? Nonsense!]]'' 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 didn't score any hits, although their record label tried mightily to push remixes of "[[Dragnet (theme song)|Dragnet]]" into the dance clubs. The album is often regarded by fans to be among their best work, despite the inclusion of arguably novelty tracks composed for the soundtracks of the movies ''[[Dragnet (drama)#Remakes|Dragnet]]'' and ''Disorderlies''. Less faithful critics, however, criticised the album for being too pretentious and lacking in the humour and catchiness that characterised previous releases. The album contained amongst its tracks a piece that combined [[new age]] piano and the rapping of [[the Fat Boys]] ("Roller 1"). The Art of Noise appeared to have taken inspiration from fellow sonic collage artist [[Boris Blank (musician)|Boris Blank]] (of [[Yello]]) with this track; though the melodic compositions are significantly different, it bears a striking resemblance to the programming used on Yello's "[[Let Me Cry]]"{{Fact|date=October 2007}}. In 1987, The Art of Noise scored 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''.
=== Hits and misses ===
In 1988, a one-off collaboration with singer [[Tom Jones (singer)|Tom Jones]] (a cover of [[Prince (artist)|Prince]]'s "[[Kiss (song)|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. 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 (1988)|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 to achieve much success upon its release in 1989. While it did spawn the memorable single "Yebo!" (featuring the unique vocals of [[Zulu]] performers [[Mahlathini and the Mahotella Queens]]) and what appears to be a [[Mancini]] tribute in the form of [[The Adventures of Robinson Crusoe (TV series)|Robinson Crusoe]], some critics felt the album was a hollow imitation of its predecessors, lacking the aesthetic and creative fullness of previous releases.
=== Compilations and solo ===
In 1990, Dudley and Jeczalik declared that the Art of Noise was done; they had officially disbanded.
The rest of the decade saw China Records releasing various Art of Noise compilations: ''The Ambient Collection'', ''The FON Mixes'', ''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. The China label eventually folded.
Although Dudley and Jeczalik had already dissolved the group, in 1990 they assisted in the promotion of the lightly remixed compilation ''The Ambient Collection'' that the China label released to cash in on the burgeoning [[ambient house]] scene, and Jeczalik approved the remixes that appeared on ''The FON Mixes'' the following year.
Dudley became well-known for composing numerous film and television scores in the 1990s. The most famous of these is probably ''[[The Full Monty]]'', which won an [[Academy Award for Original Music Score]].
In 1995–1997, 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 contract]]s.
=== Other appearances ===
Four-fifths of The Art of Noise worked on the [[Yes (band)|Yes]] album ''[[90125 (album)|90125]]'', with Trevor Horn producing, Gary Langan engineering, and Anne Dudley and J.J. Jeczalik providing arrangements and keyboard programming. Many of the samples used on that album also appear on ''[[Into Battle With The Art of Noise|Into Battle]]''. The same four also appeared on [[Malcolm McLaren]]'s 1982 album ''[[Duck Rock]]'' and the 1982 album ''[[The Lexicon of Love]]'' by [[ABC (band)|ABC]], on which Dudley also cowrote a track and began her scoring career.
The Art of Noise is also credited for the music to the [[ITV]] series ''[[The Krypton Factor]]''.
Anne Dudley and [[Killing Joke]]'s [[Jaz Coleman]] collaborated on the 1990 album ''Songs from the Victorious City'', inspired by a trip the two made to [[Egypt]].
The Art of Noise also gets 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 1991 compilation ''The FON Mixes''.
Anne Dudley produced two tracks for the 1993 Deborah Harry album "[[Debravation]]": "Strike Me Pink" and "Mood Ring," as well as cowriting and playing keyboard on "Strike Me Pink." She has scored orchestrations for dozens of pop releases over the years, and both scored and produced the album ''Voice'' for her neighbor [[Alison Moyet]]. [[Cathy Dennis]] added lyrics to one of Dudley's compositions and recorded it as "[[Too Many Walls]]", which became a U.S. Top 10 hit in 1991. Also, Dudley won the [[Academy Award]] for best original score (musical or comedy) for ''[[The Full Monty]]''.
The group's version of "Peter Gunn" was used as the theme music for the 2008 BBC TV series ''[[Bill Oddie]]'s Wild Side''.
=== Reformation ===
[[Image:Shades of paranomia.jpg|thumb|right|width 150px|Shades of Paranoimia, the single release from ''The FON Mixes.'']]According to an interview with J.J. Jeczalik reported in the ZTT fanzine [http://www.ianpeel.com/features ''Outside World''] in 1991, Jeczalik, Anne Dudley, and Gary 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, J.J. and Gary traveled to Cuba to gather new source material. However, no new recordings were produced with the new lineup, and the Art of Noise remained defunct.
In 1998, Trevor Horn, Paul Morley, and Anne 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 leaving J.J. Jeczalik conspicuously absent.
A new single, ''Dream On''—which featured remixed versions of the forthcoming album track, ''Dreaming In Colour''—was released to club DJs later that year, showcasing mixes by [[Way Out West (producers)|Way Out West]]. A second single, ''Metaforce'', featuring a [[rap music|rap]] by [[Rakim]], preceded the 1999 release of the concept album ''[[The Seduction of Claude Debussy]]'' on the ZTT label.
The ''Seduction'' album marked an evolution, rather than a return, to the band's glory days, taking the form of a cohesive [[concept album]] depicting the life and works of [[Claude Debussy]]. However, while impressive from a technical and critical standpoint, it failed to score as a pop album.
=== Dissolution and re-releases ===
After performing a handful of live shows in the UK and U.S., the band dissolved.
The ZTT label continues to reissue archive material, such as a remastered ''Into Battle...'' on CD (with bonus tracks, but substituting the original version of "Beat Box" with the later "Diversion One") and a compilation [[Super Audio CD|SACD]] called ''Reconstructed''. In early 2004, the [http://www.karvavena.com 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.
[[August 21]], [[2006]] saw ZTT release a 4-CD Art of Noise box set, entitled ''And What Have You Done With My Body, God?'', consisting of tracks exclusively from the 1983–85 ZTT era, from the initial tentative demos created by Gary Langan and J.J. Jeczalik in the wake of the [[Yes (band)|Yes]] ''90125'' 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. It also included a 36-page book featuring new interviews with all of the original members.
== Selected discography ==
<!-- major groups of releases only; listed with original UK release years; omitting superfluous remix singles like Legacy, Paranoimia '89, Shades of Paranoimia, Art of Love, etc. -->
=== Singles ===
[[Image:Art of noise art of love.jpg|thumb|width 200px|right|Art of Noise: Art of Love.]][[Image:Art of Noise Legacy.jpg|thumb|width 150px|right|Art of Noise: Legacy.]][[Image:Reworks of Art of Noise.jpg|thumb|width 200px|right|One side of Re-works is live material, the other remixes. The pictures of the band on the reverse were covered with stickers on some copies.]]
* "[[Beat Box (song)|Beat Box]]" (1983)
* "[[Moments In Love]]" (1983) and (1985)
* "[[Close (To the Edit)]]" (1984)
* "Legs" (1985)
* "[[Paranoimia]]," featuring [[Max Headroom (Character)|Max Headroom]] (1986)
* "Peter Gunn," featuring [[Duane Eddy]] (1986) — [[Grammy Award for Best Rock Instrumental Performance|Grammy Award]] winner in 1987
* "Legacy" (1986)
* "Dragnet" (1987)
* "[[Kiss (song)|Kiss]]" (1988)
* "Yebo!", featuring Mahlathini and Mahotella Queens (1989)
* "Art of Love"
* "Shades of Paranoimia"
* "Dreaming in Colour" (1998)
* "Metaforce," featuring [[Rakim]] (1999)
=== Albums ===
* ''[[Into Battle with the Art of Noise]]'' [[Extended play|mini-album]] (1983)
* ''[[Who's Afraid of the Art of Noise?]]'' (1984)
* ''[[In Visible Silence]]'' (1986)
* ''[[In No Sense? Nonsense!]]'' (1987)
* ''[[Below the Waste]]'' (1989)
* ''[[The Seduction of Claude Debussy]]'' (1999)
=== Compilation and remix albums ===
* ''[[Daft (album)|Daft]]'' (1984)
* ''Re-works of Art of Noise'' (1987)
* ''[[The Best of the Art of Noise]]'' (1988; reissued in 1992 with different tracks)
* ''[[The Ambient Collection]]'' (1990)
* ''The FON Mixes'' (1991)
* ''The Drum and Bass Collection'' (1996)
* ''Belief System'' / ''Bashful'' / ''An Extra Pulse of Beauty'' (1999)
* ''Reduction'' (2000)
* ''The Abduction of the Art of Noise'' (2003)
* ''Reconstructed'' (2004)
* ''And What Have You Done With My Body, God?'' 4-CD [[box set]] (2006)
== DVD ==
* The Art of Noise: "Into Vision" (2002) — four different concerts between 1999 and 2000 in [[Chicago]]; [[Coachella Valley Music and Arts Festival|The Coachella Valley Music and Arts Festival]] in [[California]]; in [[Shepherd's Bush]], [[London]]; and in [[Wembley]], London.
==Chart positions==
===Singles===
{| class="wikitable"
|rowspan="2"|'''Year'''
|rowspan="2"| '''Title'''
|colspan="3"| '''Chart positions'''
|rowspan="2"| '''Album'''
|-
|US [[Billboard Hot 100|Hot 100]]
|US [[Modern Rock Tracks chart|Modern Rock]]
|[[UK Singles Chart|UK]]
|-
| 1984
| "[[Beat Box (song)|Beat Box]]"
| -
| n/a
| #92
| ''Into Battle with the Art of Noise'' (EP)
|-
| 1984
| "[[Close (To the Edit)]]"
| -
| n/a
| #8
| ''Who's Afraid of the Art of Noise?''
|-
| 1985
| "Moments in Love"
| -
| n/a
| #51
| ''Who's Afraid of the Art of Noise?''
|-
| 1986
| "[[Paranoimia]]" (featuring [[Max Headroom (Character)|Max Headroom]])
| #34
| n/a
| #12
| remixed from ''In Visible Silence''
|-
| 1986
| "Legs"
| -
| n/a
| #69
| ''In Visible Silence''
|-
| 1986
| "[[Peter Gunn#Music|Peter Gunn]]" (featuring [[Duane Eddy]])
| #50
| n/a
| #8
| ''In Visible Silence''
|-
| 1987
| "[[Dragnet (theme song)|Dragnet]]"
| -
| n/a
| #60
| ''In·No·Sense? Nonsense!''
|-
| 1988
| "[[Kiss (song)|Kiss]]" (featuring [[Tom Jones (singer)|Tom Jones]])
| #31
| #14
| #5
| ''The Best of the Art of Noise''
|-
| 1989
| "Yebo!" (featuring [[Mahlathini and the Mahotella Queens]])
| -
| -
| #63
| ''Below the Waste''
|-
| 1990
| "Art of Love"
| -
| -
| #67
| ''The Ambient Collection''
|-
| 1991
| "Instruments of Darkness (All of Us are One People)"
| -
| -
| #45
| ''The FON Mixes''
|-
| 1991
| "Shades of Paranoimia"
| -
| -
| #53
| ''The FON Mixes''
|-
| 1999
| "Metaforce" (featuring [[Rakim]])
| -
| -
| #53
| ''The Seduction of Claude Debussy''
|}
==Band members==
{| class="toccolours" border=1 cellpadding=2 cellspacing=0 style="float: lleft; width: 375px; margin: 0 0 1em 1em; border-collapse: collapse; border: 1px solid #E2E2E2;"
|+ <big>'''Official Art of Noise members'''</big>
! bgcolor="#E7EBEE" | 1983–1985
|
* [[Anne Dudley]]
* [[J.J. Jeczalik]]
* [[Gary Langan]]
* [[Trevor Horn]]
* [[Paul Morley]]
|-
! bgcolor="#E7EBEE" | 1985–1987
|
* Anne Dudley
* J.J. Jeczalik
* Gary Langan
|-
! bgcolor="#E7EBEE" | 1987–1990
|
* Anne Dudley
* J.J. Jeczalik
|-
! bgcolor="#E7EBEE" | 1998–2000
|
* Anne Dudley
* Trevor Horn
* Paul Morley
* [[Lol Creme]]
|-
|}
==See also==
*[[Number one dance hits of 1984 (USA)]]
*[[List of artists who reached number one on the U.S. Dance chart]]
==References==
{{reflist}}
== External links ==
* {{imdb name|id=1691259|name=The Art of Noise}}
* {{MusicBrainz artist|id=be899560-1570-402e-9f95-3182898a8b70|name=Art of Noise}}
* {{Discogs artist|artist=Art+Of+Noise,+The|name=Art of Noise}}
* [http://www.myspace.com/artofnoiseoffical Official Myspace Page]
*[http://www.ztt.com/ ZTT Records official site]
*[http://www.ztt.com/shop ZTT Records official store]
*Ian Peel: ''[http://www.zttaat.com/article.php?title=172 Warriors of pop, 21 years of ZTT]'' [[Record Collector]], September 2004 (copy at ''Zang Tuum Tumb and all that'') Article about ZTT's history, contains info on Art of Noise
* [http://homepage.ntlworld.com/sean.cranham/aon/aonband.htm Visibly Silent — Art of Noise Fan Page]
* [http://aon.electriceye.net The Heart of Noise — A Tribute to The Art of Noise]
[[Category:British electronic music groups]]
[[Category:British dance music groups]]
[[Category:New Wave groups]]
[[Category:Synthpop]]
[[Category:English musical groups]]
[[Category:ZTT Records artists]]
[[Category:Grammy Award winners]]
[[de:The Art of Noise]]
[[fr:Art Of Noise]]
[[it:Art of Noise]]
[[hu:The Art of Noise]]
[[nl:The Art of Noise]]
[[ja:アート・オブ・ノイズ]]
[[pl:The Art of Noise]]
[[ru:Art of Noise]]
[[fi:Art of Noise]]
[[sv:Art of Noise]]