What happens when a bunch of classically trained musicians are let loose on a Fairlight CMI?
The stuff on this album is as old I am, and although it's definitely of the 1980s, it's got that timeless feel to it. Daft presents the sublime * Love series (a favourite background for chillout radio programmes that never gets the proper playback or acknowledement it deserves); Beat Box (Diversion 1), which Krypton Factor fans would find familiar; and of course, Close (To The Edit) with its playful use of "dum" and a starter motor. Yes, these guys sample anything and everything: a ruler on the table in Who's Afraid (Of The Art Of Noise); Stravinsky-esq hits and dying gasps in Flesh In Armour and How To Kill, respectively; and US psyops broadcasts from the Grenada invasion in A Time For Fear (Who's Afraid).
The inlay notes are typical ZTT (i.e., nuts --- c.f. The Seduction of Claude Debussy and Propaganda's A Secret Wish), dominated by an essay ('one bloody opinion') written by one Otto Flake explaining where the whole Art Of Noise concept came from, and what a shame it was that they abandoned Horn and Morely 'to pursue a conventional rock career'.
So what of those musicians? They make wacky, interesting music (or 'noise shots', as the album refers to it). And this is a nice album --- something of a lesson in electronic music. If you're not up for a lesson, it's still a fun listen. If you're not into fun, it's quirky and unique. Like it says on the back of the case, 'be happy or die'.