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* {{Feelies}}: Parodied with ''Daft''. The cover art depicts one of the band's paper masks, with a dotted line and scissor icon around it, seemingly encouraging the buyer to cut the mask out and wear it as their own. However, because the album was never released on LP -- only on CD, cassette, and digitally -- the mask is way too small to practically wear.
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* BetterExportForYou: The initial US CD release of ''The Seduction of Claude Debussy'' featured a bonus disc containing remixes of "Metaforce".
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* BetterExportForYou: BetterExportForYou:
** ''In No Sense? Nonsense!'' was designed as an uninterrupted, 41-minute suite, featuring liberal use of FadingIntoTheNextSong. However, while this was easily achievable on CD, limitations of the LP and cassette formats meant that the album had to split itself in half to fit across the two sides. The North American cassette release, however, is able to preserve the intended configuration by storing the full album on one side of tape, even duplicating it on the second to allow auto-reversing decks to play the material ad infinitum.
** The initial US CD release of ''The Seduction of Claude Debussy'' featured a bonus disc containing remixes of "Metaforce".
** ''In No Sense? Nonsense!'' was designed as an uninterrupted, 41-minute suite, featuring liberal use of FadingIntoTheNextSong. However, while this was easily achievable on CD, limitations of the LP and cassette formats meant that the album had to split itself in half to fit across the two sides. The North American cassette release, however, is able to preserve the intended configuration by storing the full album on one side of tape, even duplicating it on the second to allow auto-reversing decks to play the material ad infinitum.
** The initial US CD release of ''The Seduction of Claude Debussy'' featured a bonus disc containing remixes of "Metaforce".
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* ReferencedBy: "G.T. II°" by Music/RyuichiSakamoto prominently samples "Legs".
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* ReferencedBy: ReferencedBy:
** "G.T. II°" by Music/RyuichiSakamoto prominently samples"Legs"."Legs".
** The drums of "Beat Box" are sampled in Music/NineInchNails' song "Ruiner" from their album ''Music/TheDownwardSpiral''.
** "G.T. II°" by Music/RyuichiSakamoto prominently samples
** The drums of "Beat Box" are sampled in Music/NineInchNails' song "Ruiner" from their album ''Music/TheDownwardSpiral''.
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* BreakupBreakout: Gary Langan has had a successful career as a RecordProducer. Music/AnneDudley has had an ''extremely'' successful career writing soundtracks for films such as ''Film/AmericanHistoryX'' and ''Film/TheCryingGame'', as well as scoring orchestral arrangements for bands like Music/{{Rush}} and Music/{{Pulp}}; both things she's arguably better known for than Art of Noise.
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* BreakupBreakout: Gary Langan has had a successful career as a RecordProducer. Music/AnneDudley has had an ''extremely'' successful career writing soundtracks for films such as ''Film/AmericanHistoryX'' and ''Film/TheCryingGame'', as well as scoring orchestral arrangements for bands like Music/{{Rush}} Music/{{Rush|Band}} and Music/{{Pulp}}; both things she's arguably better known for than Art of Noise.
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* ChannelHop: When the band first formed, they operated under co-founder Music/TrevorHorn's ZTT Records label, which lasted until the group parted ways with Horn and Paul Morley in 1985 due to CreativeDifferences. Afterwards, they signed with China Records, which was distributed by Creator/ChrysalisRecords. In 1988, China Records switched distributors worldwide to Creator/PolydorRecords, then moved to Pinnacle Entertainment in the UK in 1993, taking Art of Noise with them and licensing their catalog out to Off-Beat Records in the US. In 1999, Art of Noise were back on ZTT, and have remained there ever since, while their China catalog was eventually snagged by Creator/{{Warner Music|Group}} in TheNewTens.
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* ChannelHop: When the band first formed, they operated under co-founder Music/TrevorHorn's ZTT Records label, label in conjunction with their distributors at the time, Creator/IslandRecords, which lasted until the group parted ways with Horn and Paul Morley in 1985 due to CreativeDifferences. Afterwards, they signed with China Records, which was distributed by Creator/ChrysalisRecords. In 1988, China Records switched distributors worldwide to Creator/PolydorRecords, then moved to Pinnacle Entertainment in the UK in 1993, taking Art of Noise with them and licensing their catalog out to Off-Beat Records in the US. In 1999, Art of Noise were back on ZTT, and have remained there ever since, while their China catalog was eventually snagged by Creator/{{Warner Music|Group}} in TheNewTens.
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* BetterExportForYou: The initial US CD release of ''The Seduction of Claude Debussy'' featured a bonus disc containing remixes of "Metaforce".
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* ChannelHop: When the band first formed, they operated under co-founder Music/TrevorHorn's ZTT Records label, which lasted until the group parted ways with Horn and Paul Morley in 1985 due to CreativeDifferences. Afterwards, they signed with China Records, which was distributed by Creator/ChrysalisRecords. In 1988, China Records switched distributors worldwide to Creator/PolydorRecords, then moved to Pinnacle Entertainment in the UK in 1993, taking Art of Noise with them and licensing their catalog out to Off-Beat Records in the US. In 1999, Art of Noise were back on ZTT, and have remained there ever since.
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* ChannelHop: When the band first formed, they operated under co-founder Music/TrevorHorn's ZTT Records label, which lasted until the group parted ways with Horn and Paul Morley in 1985 due to CreativeDifferences. Afterwards, they signed with China Records, which was distributed by Creator/ChrysalisRecords. In 1988, China Records switched distributors worldwide to Creator/PolydorRecords, then moved to Pinnacle Entertainment in the UK in 1993, taking Art of Noise with them and licensing their catalog out to Off-Beat Records in the US. In 1999, Art of Noise were back on ZTT, and have remained there ever since.since, while their China catalog was eventually snagged by Creator/{{Warner Music|Group}} in TheNewTens.
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* ChannelHop: When the band first formed, they operated under co-founder Music/TrevorHorn's ZTT Records label, which lasted until the group parted ways with Horn and Paul Morley in 1985 due to CreativeDifferences. Afterwards, they signed with China Records, which was handled in the US by Creator/ChrysalisRecords. In 1988, China Records switched distributors worldwide to Creator/PolydorRecords, then moved to Pinnacle Entertainment in the UK in 1993, taking Art of Noise with them and licensing their catalog out to Off-Beat Records in the US. In 1999, Art of Noise were back on ZTT, and have remained there ever since.
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* ChannelHop: When the band first formed, they operated under co-founder Music/TrevorHorn's ZTT Records label, which lasted until the group parted ways with Horn and Paul Morley in 1985 due to CreativeDifferences. Afterwards, they signed with China Records, which was handled in the US distributed by Creator/ChrysalisRecords. In 1988, China Records switched distributors worldwide to Creator/PolydorRecords, then moved to Pinnacle Entertainment in the UK in 1993, taking Art of Noise with them and licensing their catalog out to Off-Beat Records in the US. In 1999, Art of Noise were back on ZTT, and have remained there ever since.
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* LateExportForYou: ''Daft'' wasn't released in the United States until 1998, well after the band's other releases went in and out of print there.
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* ChannelHop: When the band first formed, they operated under co-founder Music/TrevorHorn's ZTT Records label, which lasted until the group parted ways with Horn and Paul Morley in 1985 due to CreativeDifferences. Afterwards, they signed with China Records, which was handled in the US by Creator/ChrysalisRecords. In 1988, China Records switched distributors worldwide to Creator/PolydorRecords, then moved to Pinnacle Entertainment in the UK in 1993, taking Art of Noise with them and licensing their catalog out to Off-Beat Records in the US. In 1999, Art of Noise were back on ZTT, and have remained there ever since.
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* BreakupBreakout: Gary Langan has had a successful career as a RecordProducer. Music/AnneDudley has had an ''extremely'' successful career writing soundtracks for films such as Film/AmericanHistoryX and Film/TheCryingGame, as well as scoring orchestral arrangements for bands like Music/{{Rush}} and Music/{{Pulp}}; both things she's arguably better known for than Art of Noise.
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* BreakupBreakout: Gary Langan has had a successful career as a RecordProducer. Music/AnneDudley has had an ''extremely'' successful career writing soundtracks for films such as Film/AmericanHistoryX ''Film/AmericanHistoryX'' and Film/TheCryingGame, ''Film/TheCryingGame'', as well as scoring orchestral arrangements for bands like Music/{{Rush}} and Music/{{Pulp}}; both things she's arguably better known for than Art of Noise.
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* BreakUpBreakout: Gary Langan has had a successful career as a RecordProducer. Music/AnneDudley has had an ''extremely'' successful career writing soundtracks for films such as Film/AmericanHistoryX and Film/TheCryingGame, as well as scoring orchestral arrangements for bands like Music/{{Rush}} and Music/{{Pulp}}; both things she's arguably better known for than Art of Noise.
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* BreakUpBreakout: BreakupBreakout: Gary Langan has had a successful career as a RecordProducer. Music/AnneDudley has had an ''extremely'' successful career writing soundtracks for films such as Film/AmericanHistoryX and Film/TheCryingGame, as well as scoring orchestral arrangements for bands like Music/{{Rush}} and Music/{{Pulp}}; both things she's arguably better known for than Art of Noise.
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* BreakUpBreakout: Gary Langan has had a successful career as a RecordProducer. Music/AnneDudley has had an ''extremely'' successful career writing soundtracks for films such as Film/AmericanHistoryX and Film/TheCryingGame, as well as scoring orchestral arrangements for bands like Music/{{Rush}} and Music/{{Pulp}}; both things she's arguably better known for than Art of Noise.
** Averted with JJ Jeczalik, who withdrew from the music industry almost totally after about 1997.
** Averted with JJ Jeczalik, who withdrew from the music industry almost totally after about 1997.
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** Morley, three years after the fact, appeared to dislike ''The Seduction of Claude Debussy'', calling it "decaffeinated coffee table drum and bass" and remarking that "there is no known marketable genre for an album that features both Rakim and John Hurt".
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** Morley, three years after the fact, appeared to dislike ''The Seduction of Claude Debussy'', calling it "decaffeinated coffee table drum and bass" and remarking that "there is no known marketable genre for an album that features both Rakim and John Hurt".Creator/JohnHurt".
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* ReferencedBy: "G.T. II°" by Music/RyuichiSakamoto prominently samples "Legs".
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* CreatorBacklash: An interview with the band after the release of ''In Visible Silence'' indicated that they weren't best pleased with ''Who's Afraid'', with Dudley saying she thought much of it was "dodgy", and Jeczalik considering Paul Morley's writing pretentious (or, in full, "mispelt, incorrectly punctuated badly-phrased cribbings from German Existentialists which personally I think is bleep, bleep, bleep").
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* CreatorBacklash: CreatorBacklash:
** An interview with the band after the release of ''In Visible Silence'' indicated that they weren't best pleased with ''Who's Afraid'', with Dudley saying she thought much of it was "dodgy", and Jeczalik considering Paul Morley's writing pretentious (or, in full, "mispelt, incorrectly punctuated badly-phrased cribbings from German Existentialists which personally I think is bleep, bleep, bleep").
** An interview with the band after the release of ''In Visible Silence'' indicated that they weren't best pleased with ''Who's Afraid'', with Dudley saying she thought much of it was "dodgy", and Jeczalik considering Paul Morley's writing pretentious (or, in full, "mispelt, incorrectly punctuated badly-phrased cribbings from German Existentialists which personally I think is bleep, bleep, bleep").
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* KeepCirculatingTheTapes: A number of Art of Noise's tracks, particularly from the China Records era (''In Visible Silence'' onwards) are ''astonishingly'' hard to find, with copies available on torrent sites being about the only way to obtain them. This situation is getting better following the release of expanded reissues of ''In Visible Silence'' and ''In No Sense? Nonsense!'', but it's unlikely that the comparative flop ''Below The Waste'' will be reissued, and it has long since been deleted.
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* KeepCirculatingTheTapes: A number of Art of Noise's tracks, particularly from the China Records era (''In (from ''In Visible Silence'' onwards) to ''Below the Waste'') are ''astonishingly'' hard to find, with copies available on torrent sites being about the only way to obtain them. This situation is getting better following the release of expanded reissues of ''In Visible Silence'' and ''In No Sense? Nonsense!'', but it's unlikely that the comparative flop ''Below The Waste'' will be reissued, and it has long since been deleted.
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* ReclusiveArtist: The original "masks" concept, although largely one of Paul Morley's stunts, had a kernel of truth - the members of the band (two of whom were "behind the scenes" audio engineers and one of whom was better known as a session musician than an artist in her own right) had no interest in a public profile, and indeed completely eschewed one right up until the end of the group.
* WhatCouldHaveBeen: Dudley, Jeczalik and Langan were considering reforming in the early 90s, but this fell through for undisclosed reasons.
* WhatCouldHaveBeen: Dudley, Jeczalik and Langan were considering reforming in the early 90s, but this fell through for undisclosed reasons.
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* ReclusiveArtist: The original "masks" concept, although largely one of Paul Morley's stunts, had a kernel of truth - truth-- the members of the band (two of whom were "behind the scenes" audio engineers and one of whom was better known as a session musician than an artist in her own right) had no interest in a public profile, and indeed completely eschewed one right up until the end of the group.
* ThrowItIn: Frequently. The group's work was often produced from messing around with the Fairlight CMI in the studio, and many elements were just derived from the group recording weird samples into it and Jeczalik playing with its various features.
* WhatCouldHaveBeen: Dudley, Jeczalik and Langan were considering reforming in the early 90s, but this fell through for undisclosedreasons.reasons.
----
* ThrowItIn: Frequently. The group's work was often produced from messing around with the Fairlight CMI in the studio, and many elements were just derived from the group recording weird samples into it and Jeczalik playing with its various features.
* WhatCouldHaveBeen: Dudley, Jeczalik and Langan were considering reforming in the early 90s, but this fell through for undisclosed
----
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* ProductionPosse: They effectively ''were'' one, albeit they stopped being so after breaking off on their own. Before this the members featured on some of Trevor Horn's productions, in particular Music/{{ABC}}'s ''The Lexicon of Love'' and MalcolmMcLaren's ''Music/DuckRock''.
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* CreatorBacklash: An interview with the band after the release of ''In Visible Silence'' indicated that they weren't best pleased with ''Who's Afraid'', with Dudley saying she thought much of it was "dodgy", and Jeczalik considering Paul Morley's writing pretentious (or, in full, "mispelt, incorrectly punctuated badly-phrased cribbings from German Existentialists which personally I think is bleep, bleep, bleep").
** Morley, three years after the fact, appeared to dislike ''The Seduction of Claude Debussy'', calling it "decaffeinated coffee table drum and bass" and remarking that "there is no known marketable genre for an album that features both Rakim and John Hurt".
** Morley, three years after the fact, appeared to dislike ''The Seduction of Claude Debussy'', calling it "decaffeinated coffee table drum and bass" and remarking that "there is no known marketable genre for an album that features both Rakim and John Hurt".
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* OldShame: An interview with the band after the release of ''In Visible Silence'' indicated that they weren't best pleased with ''Who's Afraid'', with Dudley saying she thought parts of it were of dubious quality and Jeczalik considering Paul Morley's writing pretentious.
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* OldShame: An interview with the band after the release ReclusiveArtist: The original "masks" concept, although largely one of ''In Visible Silence'' indicated that they weren't best pleased with ''Who's Afraid'', with Dudley saying she thought parts of it were of dubious quality and Jeczalik considering Paul Morley's writing pretentious.stunts, had a kernel of truth - the members of the band (two of whom were "behind the scenes" audio engineers and one of whom was better known as a session musician than an artist in her own right) had no interest in a public profile, and indeed completely eschewed one right up until the end of the group.
* WhatCouldHaveBeen: Dudley, Jeczalik and Langan were considering reforming in the early 90s, but this fell through for undisclosed reasons.
* WhatCouldHaveBeen: Dudley, Jeczalik and Langan were considering reforming in the early 90s, but this fell through for undisclosed reasons.
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* KeepCirculatingTheTapes: A number of Art of Noise's tracks, particularly from the China Records era (''In Visible Silence'' onwards) are ''astonishingly'' hard to find, with copies available on torrent sites being about the only way to obtain them. This situation is getting better following the release of expanded reissues of ''In Visible Silence'' and ''In No Sense? Nonsense!'', but it's unlikely that the comparative flop ''Below The Waste'' will be reissued, and it has long since been deleted.
* OldShame: An interview with the band after the release of ''In Visible Silence'' indicated that they weren't best pleased with ''Who's Afraid'', with Dudley saying she thought parts of it were of dubious quality and Jeczalik considering Paul Morley's writing pretentious.
* OldShame: An interview with the band after the release of ''In Visible Silence'' indicated that they weren't best pleased with ''Who's Afraid'', with Dudley saying she thought parts of it were of dubious quality and Jeczalik considering Paul Morley's writing pretentious.
