воспоследовавший за дебютным мини-альбомом второй сингловый релиз – на виниле и ацетате – от матёрых патриархов, мировых "суперзвёзд" Experimental-, New Wave- и Synth-pop-музыки – прославленного лондонского синтезаторного коллектива / "постмодернистской организации" "Шумовое Искусство"!
Авторство оригинального "Art of Noise"-концепта – L’arte Dei Rumori – принадлежало итальянскому футуристу Luigi Russolo.
Art of Noise, 1984 (www.ztt.com/archive). Первоначальное романтическое намерение сохранить маскарадную анонимность, безличность [Faceless project] быстро разбилось о суровые скалы первой популярности и кружащего голову коммерческого успеха. Анонимность эта привела к курьёзу в Америке, где AoN были номинированы как "Лучший чернокожий ансамбль 1984 года"!Art of Noise first appeared to appear in 1983, with a song in their heart, a beat in their soul, and an ignition key in their hand. Formed at a time when the reverberations of punk, postpunk and new wave could still be felt, they were determined to be a different kind of group, a group that set themselves outside the then currents of fashion and style, a group that were the missing link between The Monkees and Talking Heads, Abba and Kraftwerk, Frank Zappa and The Archies.– пишет участник проекта, видный британский журналист и муз. обозреватель Пол Морли, в биографии AoN (Art of Noise: Biography, by Paul Morley).
They took their name, like all the best pop groups from Soft Machine to The Velvet Underground, from a book - a book about Italian futurism. Influenced by the likes of Kraftwerk, John Cage, Marcel Duchamp, Terry Riley, Miles Davis, Todd Rundgren, Marvin Gaye and Tangerine Dream, they considered themselves futurists in the sense that they were interested in the future, in making the future a better place, in the technology of the future, in turning up in the future, in sounding like they belonged in the future...
Richard H. Kirk (of "Cabaret Voltaire"):
Art of Noise lead the way with sampling very early on in the game and they made dance music with a sense of humour.Carl Cox:
Art of Noise were always the innovators for me – you can’t touch stuff like Beat Box – and in the early days of house they were sampled by everyone from Frankie Bones to Frankie Foncett.
[ZTIS 108] Art of Noise – Beat Box, 12'' (1984)
Label: ZTT
Catalog#: ZTIS 108
Format: Vinyl, 12", Single, 45 RPM, picture sleeve
Country: UK
Released: 26 Mar 1984
Genre: Electronic
Style: Leftfield, Synth-pop
Credits:
Artwork By [Sleeve] - XLZTT
Written by: Dudley, Langan, Jeczalik, Morley, Horn.
Notes:
Made up in the capital - February 1984.
Additional text on A-side label (with quotes): "For life"
Additional text on B-side label (with quotes): "To the death".
Tracklist:
A. Beat Box (Diversion One) (8:31)
B. Beat Box (Diversion Two) (6:02)
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 cut and paste techniques before or an instrumental love song with the sound of hammers being hit instead of the sound of a drum.
(с) www.theartofnoiseonline.com
Означенный Beat Box (так назывались первые драм-машины) вышел в свет на собственном лэйбле продюсера-основателя группы, Тревора Хорна ("Zang Tuum Tumb", сокр. ZTT), в марте 84-го г., став их первым настоящим хитовым успехом по всей клубно-альтернативной Европе, в Америке и, разумеется, на переднем краю андеграундного "прото-трансового" фронта – в Гоа, при активной ди-джейской поддержке Лорана и Гила.
И "Битбокс", и производный от него Close (to the Edit), и Legs, Paranoimia (вошедшие во второй студийный альбом In Visible Silence, 86) – все эти забойнейшие ломано-ритмические темы наличествовали в их "New Wave Dance"-фонотеках на переписанных с винила высококачественных феррумовых плёнках...
Оригинальный обзор в прессе (март 1984-го), taken from theartofnoiseonline.com:
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