Much later, in a July 2002 article penned for The Guardian, Morley wrote 'I loved the name Art of Noise so much that I forced my way into the group. Morley came up with the project name (taken from the essay ' The Art of Noises' by noted futurist Luigi Russolo, and finalised at Jeczalik's request by dropping the final 's'). Seeing further potential in the idea, Horn teamed Jeczalik and Langan with Dudley in February to develop the project and brought in one of his business partners, ex- NME journalist Paul Morley, as a provider of concepts, art direction and marketing ideas. This in turn resulted in the Red & Blue Mix of Yes's ' Owner of a Lonely Heart' single, which showcased the prototype sound of The Art of Noise. Jeczalik and Langan then added non-musical sounds on top of it, before playing the track to Horn. During the sessions, Jeczalik and Langan took a scrapped Alan White drum riff and sampled it into the Fairlight using the device's Page R sequencer (the first time an entire drum pattern had been sampled into the machine). ĭuring January 1983, Horn's team were working on the Yes comeback album 90125 – Horn as producer, Langan as engineer, and Dudley and Jeczalik providing arrangements and keyboard programming. The team also worked on Malcolm McLaren's 1982 album Duck Rock and would go on to work with Frankie Goes to Hollywood on what would become the album Welcome to the Pleasuredome (realised predominantly on Fairlight). 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 and particularly for 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. Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J.

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