![]() The team produced ABC's 1982 debut album The Lexicon of Love, increasingly using the Fairlight to tweak live-based elements of performance but also to embellish the compositions with sound effects such as a cash register's bell on "Date Stamp" (Dudley also co-wrote a track on the album, which launched her scoring career). Jeczalik, engineer Gary Langan and keyboard player/string arranger Anne Dudley. In 1981, Horn's production team included programmer J. While some musicians were using samples as adornment in their works, Horn and his colleagues saw the potential to craft entire compositions with the sampler. Music producer Trevor Horn was among the early adopters of Fairlight. With the Fairlight, short digital sound recordings called samples could be played using a piano-like keyboard, while a computer processor altered such characteristics as pitch and timbre. The technological impetus for the Art of Noise was the advent of the Fairlight CMI sampler. The band is noted for innovative use of electronics and computers in pop music, particularly its innovative use of sampling. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. The group had international Top 20 hits with its interpretations of " Kiss", featuring Tom Jones, and the instrumental " Peter Gunn", which won a 1986 Grammy Award. Jeczalik, along with keyboardist/arranger Anne Dudley, producer Trevor Horn, and music journalist Paul Morley. The definitive version is the ten-minute-and-17-seconds mix that appears on both Into Battle and (Who's Afraid Of?) The Art of Noise!, but other interesting permutations of the concept include the jazzy, piano-based "Love" (available on the best-of collection Daft), which relegates the orchestral stabs to the background, and the simple, elegantly beautiful "Moment in Love," an 86-second miniature available on the Into Battle EP and the B-side of the American "Beat Box" single that consists of nothing but the orchestral stabs and a minimal rhythm line introduced only as the song begins to fade out.Art of Noise (also The Art of Noise) were a British avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. Based on a simple but oddly beautiful hook created out of a sequence of four notes played on a Fairlight CMI sampler (it's the same sample of orchestral strings played on three different keys, the second note repeated at the end these became known as "orchestral stabs" to Fairlight fans, an arrangement gimmick that became a huge cliché by the middle of the '80s), "Moments in Love" introduces a theme and then crafts a slowly unfolding series of variations around it. Sort of a cross between Barry White's "Love's Theme" (the lavishly erotic all-time '70s slow jam) and the first track from Brian Eno's Music for Airports (the one with that nagging piano hook created by an unresolved chord progression), "Moments in Love" manages to be chilly and romantic at the same time. An online discography lists a whopping 18 different mixes of the song just covering the period between 19, not even counting the later remixes and tributes that came in the '90s with the advent of chillout rooms and ambient dub, a trend that "Moments in Love" in large part initiated. Along with "Beat Box (Diversion One)," "Moments in Love" is the keystone to the entire Art of Noise project.
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