This was no ordinary music, this was the music of the future, the music of the machines, a statement of belief for what music could be.Ĭreated using samplers and the then ultra modern Fairlight synth, the album created a sound which was often tense to listen to, cut and paste sounds and fragments from the past woven with futuristic synths and vocal snippets creating a sonic imprint that was unlike anything else created at the time. The band’s name was taken from the art and noise manifestos of the Italian Futurists who’s essays contained titles such as “The Art of Noises”, “The Futurist Noise Machines”, “Manifesto of Futurist Musicians” and “Technical Manifesto of Futurist Music”. The impression the album leaves almost seems to come as much from the art direction of the band and the actual production style as much as the song writing itself. Without any recognisable frontman, the sound was not driven by vocal performances but was created from a pallet of samples, field recordings and synthesis, blurring the lines between the traditional genres of new wave, rock, pop and dance music. The roles of the artist, songwriter and producer would be blurred by the futuristic approach of the (non) group Trevor Horn, Anne Dudley, Paul Morley, Gary Langan and J. Barratt, 1985.Īhead of Classic Album Sundays’ evening with Art of Noise later this month, we revisit the band’s essential ’84 debut Who’s Afraid of The Art of Noise?Ī manifesto for the future, a blueprint for what was to become, Who’s Afraid Of The Art Of Noise? pushed the boundaries of how albums would be conceived in electronic music. “The Art Of Noise as they are” publicity photograph by A.J.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |