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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Thank you very much for this post Paul!!! What a revelation for me! I mean I have heard of AoN (and Max Headroom) and although the title track is brilliant, what really shines for me are the B-sides. Absolutely brilliant.
Thanks again for this rip!
Nubben
…and you can certainly hear Anne Dudley’s Pet Shop Boys-esque arrangements in a “A Nation of Rejects”.
Only those who lived through those years know the impact of that song. It was fun and contagious. Thank you for the post and the description of the song.
Um abraço forte, Paul!
Just getting to this now. I loved Max Headroom back in the day! Such an exciting time – the perfect fusion of technology, innovation and entertainment! Art Of Noise were responsible for quite a few comebacks in the 80’s: Duane Eddy (Peter Gunn Theme), Tom Jones (Kiss) and of course Dragnet! Thank you Paul for posting this gem of a time capsule!
Good morning, Paul. Since I’m in the neighborhood, I thought I’d come into BTG and catch up on what I’d been missing. I was out of the continent when I first heard AON. I came back to the US in 1988 and I see this Max Headroom craze but I had no frame of reference. I’ve heard the song, but it does nothing for me. I think what’s missing is the visual medium of MTV, which was the point all along. Anyway, I’ve always loved AON and still have the CDs. I like the Max Headroom cuts, but the humor… Read more »
My pleasure, Muff Diver 🙂
Thanks Paul – I was obsessed with AoN when this came out, they were so unique and imaginitive. I have this single on TV shaped picture disc. 🙂 Have you heard Anne Dudley Plays The AoN covers album – all on piano, it’s very good.
It’s always a pleasure to see your name, Jermajesty! I thought about you the other day and wondered how you’ve been. I enjoy unique items like shaped picture discs; they don’t seem to make cool collectibles as often anymore. I haven’t heard the Anne Dudley album yet, but I’ll check it out. I hope we get to see more of you 🙂
Aww, I often stop by but don’t comment, I haven’t abandonned BTG! 🙂 xx
Hey Jermajesty,
It is so great whenever you come by to comment and/or say hello!! I had no idea about the, ” Anne Dudley Plays the AoN”, covers album until you. I streamed it this morning and it is truly awesome! I am going to buy the physical CD now because I have to have it in my collection as I still prefer physical mediums. It is exceptionally good, and brilliant! The way she transforms each piece into a “classical” variation takes my breath away!
Jermajesty, please don’t stay away from commenting. We miss you!!
Have a fabulous weekend!!!
Jeff
Hey, thanks Jeff, glad you liked the album – the final track, Video Killed The Radio Star, I knew it was going to be a corker as she had played a little of it live once with the AoN on a radio show and the piano arrangement back then sounded so good. 🙂
Hey Jermajesty,
Again, many, many thanks for mentioning this album. I think it is wonderful, and the Buggles’ cover was so great! I can’t thank you enough for recommending it!
Have a terrific day!
Jeff
Not only does this 12″ single feature one of the best AON remixes (that intro!), it is actually a treasure trove of rarity with no filler. Especially since the 12″ and 7″ versions have completely different lyrics, all of which are hilarious pop culture references (“is that my Teasmade?” is genius in the short version). The 7″ version was unavailable on CD for a long time after this release, and the two B-sides (which are excellent) were unavailable for much longer. For anyone that missed picking up the now deleted deluxe edition of In Visible Silence in 2017, this is… Read more »
Thanks so much for this, and I couldn’t agree more—the remix on this 12″ is absolutely top-tier Art of Noise. That intro really does hit in all the right ways! You’re spot on about the value here too; it’s a goldmine of rare material. The completely different lyrics between the 7″ and 12″ versions are such a treat—witty, surreal, and so very AON. “Is that my Teasmade?” always cracks me up, and I love that you called it out. You’re right—those B-sides went overlooked for way too long, and for fans who missed out on the 2017 deluxe CD, this… Read more »
Thank you. Your commentary on this one is insightful.
You’re welcome 🙂
Art of Noise fell off my radar so long ago, thanks for the reminder, about to take a deep dive back into their catalog!
You bet, Raymond. Enjoy!
There was a time I was obsessed with Max Headroom. Karen, my wife, particularly loved the television series. We both admired the genius and commentary concerning advertising, networks, and the manipulation of TV viewers. I was a fanatic for Art Of Noise. They were so cutting edge and, well frankly, WEIRD!! Especially in their early years. I loved the mystique created for them by Paul Morley, with the masks for the band members and the curious and strange liner notes of their singles. Plus, Trevor Horn’s involvement meant something tremendous to me. This record was a great fusion between “Max”… Read more »
Hi Jeff,
What an incredible memory—thank you for sharing it! I can feel the excitement in every word. The fusion of Max Headroom and Art of Noise was such a bold, surreal moment in pop culture, and it’s no surprise it left such a mark on you and Karen. That Palladium performance must’ve been mind-blowing—Art of Noise live with Max Headroom beaming in from all directions? Pure 1986 magic.
Thanks for sharing that memory Jeff! I’m jealous you were there!
Hi Retro Hound, It was a very cool experience. A favorite part of the show for me was when they played their “Opus 4” piece. This was based upon Thomas Hood’s poem, “November” November by Thomas Hood No sun — no moon! No morn — no noon — No dawn — no dusk — no proper time of day. No warmth, no cheerfulness, no healthful ease, No comfortable feel in any member — No shade, no shine, no butterflies, no bees, No fruits, no flowers, no leaves, no birds! — November! This poem is in the public domain. Well, at the show, the drummer played a drum kit, and… Read more »
Wow Jeff, thanks for that additional memory! You really made me feel like I was there. Such a great poem (and fitting). You rock!
Many thanks Paul. I used to watch Max Headroom on TV back in the day!
You’re welcome 🙂