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

INTO BATTLE WITH ART OF NOISE

TITLES

battle

BEAT BOX

THE ARMY NOW

DONNA

MOMENTS IN LOVE

bright noise

FLESH IN ARMOUR

COMES AND GOES

moment in love

a. Everything may change in out demoralised world except the heart. man’s love and his striving to know the devine.^[1]

b. Boogie.

c. The group are perfectly capable of intelligent conversation.

d. They have an almost hygienic need for complications.

e. In any given year the group will: respect everyone; die in the field of honour; vote for so and so; respect nature and painting; consider themselves likeable.

f. They will never accept that the whole sentence can ever come from half a man.

g. It took the most advanced electronic equipment imaginable for the group to execute this, their first collection of noise. And a strange way of breathing.

Side one

battle

BEAT BOX

the army now

donna

side two

MOMENTS IN LOVE

bright noise

flesh in armour

comes and goes

moment in love

the art of noise dance

(ZTT logo)

CTIS 100

INTO BATTLE WITH THE ART OF NOISE

“to the death for life”

(Island logo)

(Chrome logo)

(Dolby logo)

Although this cassette contains the same catalogue number as the first incident — the 12" record Into Battle — this is actually number 10 in Zang Tumb Tuum’s red, white, and blue incidental series.

The words taken from the sleeve of the American Edition of ‘Into Battle’.

The Capital, 3.10p.m. October 25th, 1983

Art of Noise were formed in January 1983 and signed to Zang Tuum Tumb in February. They spent six months in the studio taking notes, taking time, and talking fast. They knew that Heraclitus was right when he said ‘Life is War’, and that the syllables ‘happy’ had something jaunty about them, something brisk and bouncy. ‘Be happy or die’ they cried, half meaning it.

Their first record was release in Britain in September 1983. A nation paralysed by worry and dumb with apathy took one look at ‘Into Battle’ and didn’t know whether to get emotional, get embarrassed or blurt out rude criticism. Some critics swallowed it, and some spat it out. The New Musical Express decided that ‘Into Battle’ proved that nothing need fall outside the popular imagination, that everything is possible. Record Mirror wondered what the point of it all was. Melody Maker suggested that here was inconsequental tampering with noise for the sake of it, that it was ‘nothing’. Sounds thought that it contained some of the most compulsive music released commercially for years. The Face considered it ‘self-consciously modern’ and believed they could make the noise in their own home. The Capital’s magazines thought it weird, sublime, ridiculous and startling, they couldn’t begin to explain its power.

Art of Noise concluded that all critics have large thumbs and disappeared to prepare their next record. Meanwhile, letters flooded in to the Zang Tuum Tumb record company building from all over Europe congratulating the group on producing something so ribald, thoughtful and happy.

Art of Noise looked around them and thought:

“Well! That’s life”

They were almost right.

The Art of Noise are a Zang Tuum Tumb fantasy. Anything in oil on a flat surface holds their attention^[2], war to them is a form of dancing, they like to hunt hazel nuts and arrange buttons, and they never learnt to speak French properly.

THE NOISE was elevated by THE ART OF NOISE. Trevor Horn came along. Further information about Art of Noise, and information about all other Zang Come Tumb entertainers is available from: The Z.T.T. Building. 8-10 Basing Street, London W11. Enclose a s.a.e.

sleeve XLZTT

photographs: a.j.barratt

the art of noise refuse to blame themselves

the art of noise think

CTIS 100 (the cassette)

Manufacturer by Island

Made up in the capital February — August 1983

Also: ‘Beat Box’ (Diversion 1 + 2) — ZTIS 108

(dudley-horn-jeczalik-langan-morley)

published by perfect songs — unforgettable

produced by art of noise

UNAUTHORISED PUBLIC PERFORMANCE, BROADCASTING AND COPYING OF THIS CASSETTE PROHIBITED. ALL RIGHTS OF THE MANUFACTURER AND THE OWNER OF THIS RECORDED WORK RESERVED.