ZANG TUMB TUMB DISCOGRAPHY “…which deny the freedom of the flesh…”

Art Of Noise

“daft”

a zang tuum tumb compact compilation containing noise-shots from the records Who’s Afraid Of The Art Of Noise, Into Battle and Moments In Love.

set out

THAT WAS TEN…

BUT THIS IS THIN

The ART OF NOISE — truth and a half

SETTING OUT

About this little Art Of Noise, before it thought to split.

or/About this little Art Of Noise, before it stitched a sequin to gimmick.

or/About this little Art Of Noise, before it was happy.

or/About this little Art Of Noise, before it was fed.

ABOUT THIS LITTLE ART OF NOISE: ‘a pop art special event gets so little recognition it could turn into a meglomaniac.”

A critic writes: “A philistine is habitually bored and looks for things that won’t bore him. An artist finds things boring, but is never bored.”

or/About this brittle Art Of Noise: “The most incomprehensible talk comes from people who have no other use for language but to make themselves understood.”

or/About this brittle Art Of Noise: Daft the compact contains noise-shots recorded during the Z.T.T. Year — 1983

the Art Of Noise analyse

the Art Of Noise don’t give up

the Art Of Noise dance

the Art Of Noise breathe

CHANGE:

FOR GOODNESS SAKE

Two years ago Trevor Horn and Paul Morley began an 8 year work to be entitled The Raiding Of The 20th Century, which was to be immodest, insightful assembly of musical drama, ornamental documentary and cultural commentary — the commodity as commentator. Absolutely considering that originality is synthesis, the project was during 96 months to illuminate the beauty and brutality of the 20th Century and release views, reaction and analysis through that well known accessible context, rock music: use interviews, records, literature, to communicate in the name of the fullness of life a contrary, suspicious view of the consumer, entertainment imagination and happiness. During the first period of this work, largely a preparation for the major body of the piece which will emerge between late 1986 and 1990, Art Of Noise were the unit of communication that organised affairs, and were organised by affairs. The sounds and sleeves of such records as ‘Into Battle’, ‘Beat Box’ and ‘Who’s Afraid Of The Art Of Noise?’. the interviews that appeared in such journals as Newsweek, Melody Maker and Der Spiegel, a two week performance at a London theatre which preached against the so called follies of fashion through a semi-spiteful stand up comedy, are among the first ‘published’ details of the work.

Other details include award winning and entirely decent videos made in New York and Soho for ‘Close (To The Edit)’, the tortoise in the video for ‘Moments In Love’ used as a symbol for the lethargy of mainstream rock, the use for ‘Moments In Love’ during the last few seconds before Madonna married her Penn friend, Horn’s award as record producer of the year in Rolling Stone, one ceremonial part of the Yes single ‘Owner Of A Lonely Heart’ and the impenetrable scream at the end of Godley and Creme’s ‘Cry’.

Members of Art Of Noise who aided on the musical side of Horn and Morley’s swindling, mediating project have now decided that they are competent enough to pursue a conventional rock career, and that this is something they prefer — the settled patterns of a rock schedule, its unsubtle, manufactured sincerity. Accordingly they have jettisoned themselves out into the pop area where meaninglessness is a virtue, agreeing with the rock industry’s viewpoint that all unsettling and cross energy must be reduced to purposelessness for the sake of public safety. Members Jeczalik, Dudley and Langan, disconcerted by Horn and Morley’s subversive attempts to bruise the complacency of the rock industry and prepare a long term large scale project of celebration, interpretation and malice, have retained the name Art Of Noise as the commercial success associated with it suits their brazen career-besotted attitude. They will continue Art Of Noise as a mainstream pop group, out there admist the teeming heards, signed to a label well apart from Trevor Horn’s Zang Tuum Tumb. Horn and Morley view their decision with resigned amusement — ‘Art Of Noise’, once a most joyous, secretive parody of ‘the pop group’ and what it might be, will be Art Of Noise the pop group and what it must be.

OTTO FLAKE

Otto Flake’s essay is one bloody opinion. There are those who consider the Z.T.T. Year Art Of Noise to be one of the greatest pop groups of recent times, and there are those who consider the happy, fed take away Art Of Noise to be the sea’s knees.

or/About this brittle Art Of Noise: Lord, forgive them, for they know what they do.

ZCID Q2

(ZTT logo) (Compact Disc logo) (Island logo)

BLESSED ARE THE NOISEMAKERS

DAFT the compact contains noise-shots recorded during the year Art Of Noise spent taping up at the Zang Tuum Tumb Record label — 1983.

1. Love*

16. (Three Fingers Of) Love*

Tracks marked * taken from the 12" ‘Moments In Love’

Tracks marked ** taken from the album ‘Who’s Afraid Of The Art Of Noise’

Tracks marked *** taken from the albumette ‘Into Battle.’

Produced by Art Of Noise: Gary Langan, Anne Dudley, J.J. Jeczalik

WARNING unauthorised public performance broadcasting and copying of this compact disc prohibited. all rights of the manufacturer and owner of this recorded work reserved.

BE HAPPY OR DIE (ZTT logo) (Compact Disc logo) (Island logo) ZCID Q2