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ztt-digest            Friday, May 28 1999            Volume 02 : Number 109




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Date: Tue, 25 May 1999 03:55:33 -0600
From: "Robert Marston" <[e-mail]>
Subject: (ztt) Date: Tue, 25 May 1999 09:54:56 GMT

The ZTT shop appears to now be online. Shame there isn't anything 'that
little bit extra' available on it yet.



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Date: Tue, 25 May 1999 13:21:40 PDT
From: "Juno Jackson" <[e-mail]>
Subject: (ztt) Metaforce Remix Contest

There is a Metaforce remix competition at theartofnoise.com . The winner
will receive a limited edition AON box set. Also, the site mentions a single
that was recorded by AON in 1997 that was released under a different name.
Does anyone know if this record is still in print ? Where could I find it ?

NOISEWERKER


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------------------------------

Date: Tue, 25 May 1999 15:36:51 -0500
From: John Goelzer <[e-mail]>
Subject: RE: (ztt) Metaforce Remix Contest

All I know is that it was released under the artist name The Metaphor Tops.
I don't know in what quantities and formats it was issued, what exactly it
contained, or whether it's still available. In other words, all I know is
the name.

The few searches I've done for The Metaphor Tops have yielded nothing.

Anyone *ever* run across this thing? And if so, why haven't you MP3'd it
yet? Seems like the ideal candidate...

JG

        -----Original Message-----
        From:    Juno Jackson [mailto:[e-mail]]
        Subject:    (ztt) Metaforce Remix Contest

        There is a Metaforce remix competition at theartofnoise.com
. The winner
        will receive a limited edition AON box set. Also, the site
mentions a single
        that was recorded by AON in 1997 that was released under a
different name.
        Does anyone know if this record is still in print ? Where
could I find it ?

        NOISEWERKER



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Date: Thu, 27 May 99 22:14:22 +0100
From: John McCormick <[e-mail]>
Subject: (ztt) ZTT Sampled

Hi ztt'ers!
I'm glad as a I've just layed my hands on a copy of 'Zang Tuum Tumb
Sampled' (or 'Zang Tumb Tuum Sampled' as it says on the cover!) with
songs from 1985/6 from Andrew Poppy/Anne Pigalle/Propaganda/etc; but I
guess you fellow ztt'ers already know what this is. :-)
I have a few questions about the 'album' as a result of listening to this
for the first time:

Q1:For those who have access to a copy:
 At the beginning of 'Disneyland' by FGTH, there are some 'abstract
brass' sounds for the first few seconds. I notice these exact sounds are
also used in the 'quiet' middle section of Propaganda's 'Duel' - the
question is: which came first? (chicken or egg?)

Q2:For those who dont (or do):
 What became of 'Instinct'?


Those ZTT/XL typos still make me laugh! Though perfect ellipses
everywhere. [chaos]
The sleeve quotes:
"1. The Post-AGE - Who even thinks to ask anymore - what becomes of the
work of art in the world of mass production? No: WHAT CAN ART WORK GIVE
the world of mass production?"
Indeed.
[I'm a graphic designer]

John M.

 //        Northamptonshire, ENGLAND.       \\
 \\      Please visit my web pages at:      //
 //  http://members.tripod.com/~jmccormick  \\
 \\                  - * -                  //




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------------------------------

Date: Thu, 27 May 1999 22:59:47 -0700 (PDT)
From: [e-mail]
Subject: (ztt) Review: new Art of Noise

The Art of Noise, Trevor Horn's 1983 side project, was a novel
interpretation of a 70-year-old idea of an Italian Futurist by the name of
Luigi Russolo. To listen to Horn tell it, the success of the combination
of Yes and Frankie Goes to Hollywood session hands J.J. Jeczalik, Anne
Dudley, and Gary Langan, under Horn's direction and packaged by Paul
Morley, was a complete and total accident.

Gosh, we're pioneers with this new sampling technology? People are dancing
to "Beat Box"? "Close (to the Edit)" is an international hit? How could
this be?

Please. That 'Into Battle' and 'Who's Afraid' were clever, arty, yet
mostly accessible pieces of sample-based pop-dance by _design_ is obvious.
Yet despite Horn (and Dudley)'s oh-so-British faux naivete, the fact
remains: those two albums, and arguably the Horn-less "parody" that
followed ('In Visible Silence'), are of groundbreaking importance not just
in that they created palatable music from found, sampled sounds, but also
in that they did it so _well_. And the arrival of this non-band
foreshadowed a movement in electronic music that would lend new meaning to
the term "faceless", influencing generations to come.

While the Art of Noise had some fine moments after breaking with Horn's
ZTT label in the latter half of the 1980s, its members parted ways in
1990. By the time popular interest in electronic music was surging in the
mid-90s, Art of Noise had become synonymous with bland remix and
compilation albums issued by the China label after the band's dissolution.

Against the backdrop of this time that they had been ahead of, all of the
former members discussed at one point or another the possibility of
reforming, but it wasn't until Dudley and Horn worked on Marc Almond's
'Tenement Symphony' that a new Art of Noise was born, this time without
Jeczalik and now incorporating Lol Creme and Morley again in more
productive roles. Work began in 1996 and took over 2 years to complete.
One would hope that the fruit of this labor would be a kind of redemption
for the tarnished name of the Art of Noise, a bold return to new, untested
ideas, something that would be as exciting and fresh in 1999 as 'Into
Battle' was in 1983.

Well, 'The Seduction of Claude Debussy' is a reinvention, to be sure, and
in some ways it marks a return to some of the original concepts, but it is
not by any stretch as daring as the Art of Noise of old. Further
disappointing is that its creators are standing by the "we were good by
accident" rhetoric, dismissing the contrast between the new and the old as
a misunderstanding on the part of the fans as to what the Art of Noise was
really about all along.

On some levels, TSoCD is a triumph for Horn. It's clearly his baby, and
his high production values permeate every second of the album's 60 minutes
(or so; there are multiple mixes of the album in circulation already).
Dudley's string and piano arrangements, based on relatively unknown
Debussy compositions, swoop and swirl with grandeur around drum'n'bass
styled percussion patterns, Sally Bradshaw's operatic declarations and
John Hurt's narration about the life of Debussy that is so carefully
placed at the right moments in the album.

But the implication of such deliberate incorporation of each and every
element of sound leaves the listener feeling like the new Art of Noise is
now just all about technical perfection. Where's the accidental beauty in
that? For that matter, where's the _fun_? Never has an album so perfectly
produced by such talented people been so devoid of intensity. The new Art
of Noise is very Euro, very mild, even when hip-hop icon Rakim delivers a
surprisingly tolerable rap about Baudelaire, among other things, halfway
through the album ("Metaforce"). The drum'n'bass inspired moments have
half the drums and none of the bass that they should, and the closest
thing to a real mood in this epic is the all-too-brief ambient interlude
"out of this world (version 138)".

That said, one still comes away from this album with a sense of relief.
The Art of Noise are back and whether it was deliberate or not, they have
crafted a quality album that, while not living up to anyone's expectations
or being very much ahead of its time, is more cohesive than anything AoN
- -- or very many other musicians, for that matter -- have ever done. It's
not without its moments, and there's a promise of more to come. Welcome
back. We're not afraid.



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------------------------------

Date: Fri, 28 May 1999 23:24:06 +0200
From: Markus Arnold <[e-mail]>
Subject: (ztt) Trevor Horn, AON, 808

My apologies if this has been mentioned before:

The July '99 edition of UK magazine 'The Mix' has a exclusive interview
with Trevor Horn in it. It seems to focus mainly on Art of Noise and the
new album.

On a different note: 808 State's Newbuild re-issue seems only to have been
imported by EVA/Caroline in the US, so it is not a US pressing.

Markus
http://www.808state.com


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End of ztt-digest V2 #109
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