An album of instrumental, experimentation is difficult to describe compared to ordinary pop songs with hooks and emotional connection points, other than to fire out a list of adjectives that jump to mind when pondering each track: It’s a bonkers, mad, ridiculous, odd, curious, funny, surprising, exciting and more than anything, amazing album. ‘(Who’s Afraid of?) The Art of Noise!’ never lets up its unrelenting experimentation, but also shows it’s intelligence, knowing how to pace itself with shorter, although nonetheless compelling tracks, like ‘Snapshot’ and ‘Momento’ appearing after lengthy, sprightly numbers like ‘Beat Box (Diversion One)’. Why these and countless other elements intrude without explanation? Who the Hell knows? It doesn’t matter because it’s unimportant - these aren’t easy pop songs - they’re complex soundboards of chaotic, oddball electronic experimentation. It’s evident right from start to finish, including the opener, ’A Time for Fear (Who’s Afraid)’, introducing a blast of sleazy saxophone out of nowhere, only for it to disappear 10 seconds later, or the brilliant ’Beat Box (Diversion One)’, with what sounds like a distorted sample of a noisy car engine buzzing away in the dense background. created a sense of frenetic uncertainty for listeners, swamping each track with so many samples, beats, rhythms and sheer oddities that it becomes difficult to ignore the exciting sensation of never knowing what sound is around the corner. They instead opted to play with sound like a cat plays with a ball of string - endlessly toying with it, never losing excitement or becoming bored. ‘The Art of Noise’ didn’t do simple, melodic pop music. So when ‘The Art of Noise’ released their full length debut LP in 1984, featuring nine utterly eclectic tracks that tampered with sound like few others, it was immediately clear that ’(Who’s Afraid of?) The Art of Noise!’ was something out of the ordinary. It’s not that fitting in a genre is a problem at all (far from it, in fact), but rather the inarguable fact that it can sometimes lead to a lack of experimentation and playfulness. Sometimes this adherence to boundaries and limitations produces perfectly pleasurable listening experiences that, whilst sitting comfortably in an easily categoriseable genre, are completely successful. Boundaries that define the sound of the product, be that a definition of style, theme or genre. Most of the time music operates within boundaries. Retrieved 27 April 2021.Review Summary: A tidal wave of relentless oddball electronic experimentalism, The Art of Noise produce a listening experience like no others. ^ "Art of Noise: Artist Chart History".^ " The Art of Noise – Moments in Love" (in Dutch).Although the mixes are titled the same as on the 12" Moments In Love (The Art Of Noise's Love Beat 12") and its later reissues on European / Japanese CD Singles, they are in fact different variations. All tracks were exclusive to this cassette single. "THE TORTOISE AND THE HARE FEATURING MOMENTS IN LOVE". "Best Ambient Music: An Essential Playlist And Brief History In 20 Songs". Tracks 1–3 are edits unique to the cassette release. UK cassette ( The Tortoise and the Hare) (CTIS 109) "Moments in Love (7" Single Version)" – 4:40.UK 12-inch single ( Moments in Love: The Art of Noise's Love Beat) (12ZTPS 02) "Moments in Love (7'' Single Version)" – 4:40." Moments in Love" is a song performed by Art of Noise and written by Anne Dudley, Trevor Horn, J.
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