Magarov started recording in 1933 when he was 21 because he was an accompaniment player, and recorded until 1991 when he died last year. It contains the sound recordings of the sessions recorded by Magarov during the LP era in UK Decca and Orchid Phillips, and the live recording of the Swiss Romand broadcast in Montreux, Switzerland in 1988.
Bach's The Art of the Fugue, BWV 1080, was apparently his final work, breaking off unfinished in what would have been a monumental final section. It is written in open score, with no indication of instrumentation, which has given rise to various solutions: performances exist for organ, harpsichord, orchestra, small ensemble, and even piano, an instrument Bach is known to have encountered in his last years.
Art of Noise's first full album, (Who's Afraid Of?) The Art of Noise!, consolidated the future shock of the earlier EPs and singles in one entertaining and often frightening and screwed-up package. Rarely has something aiming for modern pop status also sought to destroy and disturb so effectively. The most legendary song is still "Close (To the Edit)," benefiting not merely from the innovative video but from its strong funk groove and nutty sense of humor in the mostly lyric-less vocals, not to mention the "hey!" vocal hook the Prodigy would sample for "Firestarter." Its close cousin, the title track, brilliantly blends a nagging bass synth, echoed drum, and percussion fills and constantly shifting vocal cut-ups, random noises, and strange melodies. They're just two highlights on this prescient release, though. Part of the thrill of Who's Afraid is the sense of juxtaposition and playing around, something still not very common in music and even less so in the pop music genre.
The place for Art of Noise neophytes to start, Daft collects (Who's Afraid Of?) The Art of Noise! and Into Battle with the Art of Noise, along with two reworkings of "Moments in Love" from the original U.K. release of that song, to make a fantastic hour's worth of music. If anything, a single or two aside, Daft beats out the official Best Of compilation by a mile. Having aged superbly with time, AON's early works sound all the more advanced and of the moment, a testament especially to Trevor Horn's excellent production and Anne Dudley's gripping arrangements. Further entertainment comes from the liner notes, which aren't merely state-of-the-art 1984 album design but an apparently barbed attack on the further incarnation of the band from one Otto Flake. The exact seriousness of this is up to the reader. As for the "Moments in Love" versions, both are gentler and more elegant than the already lush original, and none the worse for that, though "(Three Fingers Of) Love" does have rather disconcerting sound effects added to it.