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Label:
  ZTT - http://www.ztt.com/
Serial:
  ZTT182SACD
Title:
  Art Of Noise: Reconstructed
Description:
  "Reconstructed for your listening pleasure"

Art Of Noise
Track listing:
 
Genre:
  Pop/Rock
Content:
  Stereo/Multichannel
Media:
  Hybrid
Recording type:
 
Recording info:
 

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Related titles: 1

Art Of Noise: Daft      

 
Reviews: 3

Review by Frankie say sacd January 22, 2005 (3 of 4 found this review helpful)
Performance:   Sonics:
Just another great job from Trevor Horn after FGTH and Propaganda SACD releases.
This mc SACD sounds so good that you don't believe what you hear.
Moments in love, Peter Gun, Beat box etc. all in 5.1 is WOW!
I felt this experience for the last time with Pink Floyd's intro of Time (DSOTM).
The instruments, samples and voices comes from every corner into your room.
This SACD isn't cheap (limited release from ZTT), but with his 80 minutes worth for the money.
This SACD is like an Angel pissed in your ears. Just great!

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Review by beardawgs December 17, 2003 (1 of 1 found this review helpful)
Performance:   Sonics:
We couldn’t wait to get our hands on the new SACD batch from ZTT, especially after having for a while brilliant Trevor Horn’s surround mix of FGTH. Art of Noise was making kind of music particularly suitable for MC, and here we are. This is a concert album, ‘reconstructed for your listening pleasure’, all but 3 tracks from ‘The Seduction of Claude Debussy’, the CD I’ve heard only once and threw away in disappointment. It’s a question of personal taste, and after the masterpiece album “In no sense? Nonsense!”, I was expecting something more thoughtful and creative. Again, I don’t know the original ‘Debussy’ album that well, so can’t compare this live mix with it, but what’s here music-wise is IMO pretty much disappointing.

After the initial success with their subversive parody of a pop group, Anne Dudley and Trevor Horn took different paths, and for some reason they are back together in a pretty much witless parody of Debussy-meets-techno-meets-AON. The most annoying part for me was lame and humourless narration (Paul Morley) and a rather crap shrill soprano voice (Amanda Boyd), never knowing is that a part of the ‘parody’ or something more serious. Is this his attempt to go crossover or surpass Malcolm McLaren? Neither of which he's succeeded. Crossover would be a direct violation of AON’s artistic credo, and I couldn’t hear any intellectual McLaren-like statement in relation to some glorious classical music works.

It is no surprise they get most of the cheers when playing ‘Moments in love’ and ‘Beat box’ in an absolutely brilliant new version. For my taste, Moments in love are ruined with speeding up the middle section (going techno again?). At some point we hear the words that inspiration comes from water, and accordingly what we get in return are some pretty much washed-out non inspired musical ideas, a far cry from subversion, boldness or parody well know from AON’s early days, with or without Trevor Horn.

There is some 79 minutes of music here, and for some reason track times printed on the sleeve are incorrect, most of them giving shorter times from 1 to 4 minutes! The sound is well engineered, focused and solid. Surround mix is one of best I’ve heard in this kind of music – every single track is thoroughly thought out, with some clever use of space between the speakers, changing perspectives and constantly shrinking and widening the sound image. Shame about the music, but at least a really subversive “Daft” is about to hit the shops.

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Review by sledge19 October 2, 2005
Performance:   Sonics:  
Trevor Horn has done it again: Inventive and great sounding multichannel mix (Dan Vickers is credited for the 5.1 mix), which you can use to impress your friends and to demonstrate the superior sound of SACD. There are several great moments on this disc, especially the beginning of “Moments in Love”, “Beat Box” or “Peter Gunn”. Your jaws are dropped, but unfortunately this does not always last throughout the whole track. An annoying singing voice or speeding up of the track does not sit well – maybe too inventive or ambitious at times? And there are definetely better tracks from AON, than selected here for this disc. Seeing (and hearing) what can be done with modern sound technology and talent, leaves you wishing for multichannel mixes of other AON masterpieces – for example a serious “reconstruction” of the great “The Best of Art of Noise – Art Works 12” CD from 1988 would be a perfect start.

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