[2] 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.

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.

[citation needed] In 1981, Horn's production team included programmer J. J. Jeczalik, engineer Gary Langan and keyboard player/string arranger Anne Dudley.

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.

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').

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.

It would also be the first and last time that he would enjoy chart success as an artist since the new wave hit in 1979 with "Video Killed the Radio Star" (not counting writing credits on The Dollar Album).

[3] Many of the samples originally used on 90125 reappeared on the EP, which immediately scored a hit in the urban and alternative dance charts in the US with the highly percussive, cut-up instrumental track "Beat Box", a favourite among body-poppers.

"Moments in Love", a ten-minute instrumental ode to sensuality that appeared on both Into Battle and Who's Afraid, was remixed and released as a single in 1985.

Much later, Morley would comment "When Trevor and I left, (Jeczalik, Langan and Dudley) became a novelty group who had hits with Tom Jones."

[4] After the split, Dudley, Jeczalik, and Langan moved to the UK-based China Records label, taking the Art of Noise name with them.

[5] The Peter Gunn video featured comedian Rik Mayall in a parody of the private eye film genre.

In 1986, the album track "Paranoimia" achieved some success when a remix of it was released as a single with overdubbed vocal samples provided by Matt Frewer as the supposedly computer-generated character Max Headroom.

[citation needed] The upcoming soundtrack pieces continued The Art of Noise's evolution into a pop band and away from Morley's faceless "non-group."

[3]  The album featured Jeczalik's most advanced rhythmic collages to date, plus lush string arrangements, pieces for boys' choir, and keyboard melodies from Dudley.

It did not produce any hits, although their record label made efforts to push remixes of "Dragnet" into the dance clubs and the single reached No.

Their brass-based connecting passage between sections from the original Dragnet television show's theme song was used as incidental music during a dramatic scene—an armed chase through the rafters of a gymnasium—near the end of Hiding Out.

Both cassette and CD versions include two bonus tracks in the form of "Robinson Crusoe", and the "James Bond Theme".

coengineer Bob Kraushaar produced a number of instrumentals oriented toward dance clubs under the name Art of Silence, issuing an album titled artofsilence.co.uk.

In 1998, Horn, Morley, and Dudley began talking about the original intent of the project, its relevance in 20th-century music, and the impending turn of a new century.

The firework display was synchronised to an edit of "Seduction" which also featured a collage of samples from some of Britain's most famous pop and rock songs, plus classical composers.

Trevor Horn worked on the project with Jill Sinclair, Bob Geldof, Capital Radio executive Clive Dickens and producer Ross Ford.

A DVD (Into Vision) and CD (Reconstructed) were released in 2002 and 2003 respectively, featuring music recorded and filmed in Chicago, at the Coachella Festival (10 September 1999), at the Shepherd's Bush Empire (22 March 2000) and Fountain Studios, Wembley, London (1 June 2000).

Most recently, Jeczalik and Langan have been performing intermittent live dates as The Art of Noise/Revision/VJ Set, with a four-person line-up also including video operator Ian Peel (a long-term Art of Noise chronicler) and Chilean musician/producer Raimundo Ladrón de Guevara (and following "very good-humoured discussions and input from Trevor Horn, Anne Dudley and Paul Morley").

This album contains covers of various tracks, including a new version of "Beat Box" performed by J.J. Jeczalik under his Art of Silence moniker.

The set featured over 40 unreleased remixes, demos, and works in progress, as well as the complete vinyl version of Into Battle... – sourced from the original masters – for the first time on CD.

The project was conceived, researched and compiled by music journalist (and Art of Noise aficionado) Ian Peel, who also wrote the box set's accompanying 36-page book, which featured new interviews with all of the original members.

In April 2011, Peel continued his archiving of classic and vaulted ZTT material, now named the Element Series, with a Deluxe Edition reissue of Into Battle with the Art of Noise.

This was intended to be the first of a chronological remastering and repackaging of the Art of Noise's output, collating the original album or EP with extended and previously unavailable tracks.

The track, titled "Happy Harry's High Club" (after a phrase spoken by Max Headroom on Paranoimia), is featured on In Visible Silence.