In No Sense? Nonsense! was the third full-length album by Art of Noise, recorded and released in 1987. By the time of its recording, the group had been reduced to a duo, with engineer Gary Langan leaving the previous year—Langan's mix engineering duties were taken over by Bob Kraushaar and Ted Hayton for this album, but the music was produced entirely by Anne Dudley and J.J. Jeczalik. The album saw the group expanding its sound to include rock and orchestral instrumentation, in addition to its trademark sampling. Many of the album's tracks are seamlessly segued; ambient soundscapes blend into percussive rhythms, dramatic buildups, melodic string arrangements, and vocal choruses and chants. The sounds of various forms of transport are a recurrent theme. Musical motifs from "Dragnet," "Galleons of Stone," and "Ode to Don Jose" recur throughout the album.
This course will instruct you in 20 transformational practices that transform the Near Life Experience into a Meaningful Life Experience.
”Division-Musick“ is a term used by Christopher Simpson during the 17th century to describe a typically English improvisatory style of diminution. Musicians generally used short bass melodies called grounds as the basis for intricate and virtuoso diminutions, beginning with simple and slow melodies over a bass melody, and ending with very fast and virtuosic diminutions after a varying number of repetitions of the melody. Both singers and instrumentalists practiced this art of diminution, but the preferred instrument for divisions was the so-called ”division viol“. This CD aims to give some audible insight into English virtuosity in the Baroque era.
AON hit their stride with the release of this record, while showing their colors in the choices of material – while the usual offbeat AON elements were present, so was "Peter Gunn," with Duane Eddy guesting on guitar. Another AON hit, "Legs," was present, as was the original version of "Paranoimia," enhanced in its single versions by the addition of routines from Max Headroom performed by Matt Frewer, who would later play the digital ding-a-ling on a short-lived TV series. The Frewer versions replaced the original on some pressings, including the original CD, but the original version has since been restored, with both Frewer versions now confined to best-of collections.