Burning The Ground Exclusive
In the mid-1980s, when electronic music was evolving as both an art form and a playground for avant-garde experimentation, The Art of Noise stood at the forefront. Their 1986 single “Paranoimia”, featuring the glitchy charm of TV’s first virtual VJ Max Headroom, remains one of their most iconic and unconventional releases.
Originally an instrumental track on the group’s second studio album In Visible Silence, “Paranoimia” was reimagined and released as a standalone single featuring Max Headroom—played by Canadian actor Matt Frewer. The result was a bizarre, brilliant fusion of synthesized paranoia and late-night hallucination, narrated by a snarky, stuttering digital character who had already become a symbol of media overload and artificial intelligence satire.
The single version of “Paranoimia” kicks off with Max lamenting his inability to sleep. “I lie awake, tossing and turning,” he says in his signature electronic stammer, diving into a surreal monologue about dreams, nightmares, and subconscious fears. The Art of Noise’s soundbed—filled with clanging samples, synthetic textures, and abstract rhythms—complements Max’s ramblings perfectly, creating an atmosphere that’s both hypnotic and unsettling.
What makes this track especially memorable is its ability to straddle the line between novelty and innovation. While Max Headroom may have added a comedic, pop-culture edge, the song’s production is pure Art of Noise—meticulous, layered, and sonically adventurous. The 12″ extended remix stretches the experience even further, giving Max more room to monologue and the music more space to evolve.
“Paranoimia” was a commercial success, reaching #12 on the UK Singles Chart and becoming a favorite in clubs and on college radio. It remains a snapshot of a time when music, television, and technology were converging in weird and wonderful ways.
For fans of synth-pop, audio collage, and ‘80s media satire, “Paranoimia” isn’t just a song—it’s a mood. A brilliantly warped time capsule that still feels oddly relevant in our age of digital overload and sleepless scrolling.
SIDE A:
Paranoimia (Extended Version) 6:42
Featuring [With] – Max Headroom
Paranoimia 3:18
Vocals [Uncredited], Featuring [With] – Max Headroom
SIDE B:
Why Me? 2:56
A Nation Rejects 2:58
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
U.S. CHART HISTORY:
| Year | Single | Chart | Position |
|---|---|---|---|
| 1986 | Paranoimia | U.S. Billboard Hot 100 | #34 |
| 1986 | Paranoimia | U.S. Billboard 12-Inch Singles Sales | #21 |
| 1986 | Paranoimia | U.S. Billboard Hot Dance Music / Club Play | #14 |
RELEASE INFORMATION:
Label: China Records – 4V9 43017, Chrysalis – 4V9 43017
Format: Vinyl, 12″, 33 ⅓ RPM, Stereo
Country: US
Released: 1986
Genre: Electronic
Style: Synth-pop
CREDITS:
- Design [Sleeve Designed By] – J. Pasche*
- Producer, Arranged By – The Art Of Noise
- Written-By – Dudley*, Jeczalik*
NOTES:
Taken from the album, cassette and CD “In Visible Silence”.
Buy the 12″ at DISCOGS
VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
burningtheground.net
THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon Concorde Music Black
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Ject Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
DAC: Alpha Design Labs GT40a USB DAC
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Artwork Scans: Epson Workforce WF-7610 Professional Printer/Scanner
SOFTWARE:
Recording/Editing: Adobe Audition 25 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator
RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi
**24bit FLAC Only Available For Seven Days!
Password: burningtheground
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I’m taking a short break from my Shep Pettibone run to fill a few requests. The first is another rare gem to add to my “Closet 80s” series—a track that never got its due but still shines in all the right ways.
