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Catching up with John Foxx January 23, 2016

Posted by sjroby in Music.
Tags: , , , , , , , , , , , , , ,

When I started this blog to write about music, mainly for my own pleasure and to stave off the boredom of being between jobs, I posted several times about John Foxx for two reasons: first, I like his music, and second, he’s prolific. Looks like the most recent of his albums I posted about were the live album In the Glow and some reissues back in 2009. So what’s he done lately? I’ll skip reissues and compilations and remixes.


jf1D.N.A. (2010, one CD and companion DVD with videos). It’s a collection of tracks created for collaborators to make videos from. Many of the videos are good, but the CD doesn’t really flow as an album, mixing beat-oriented and ambient tracks.


jf2Interplay (2011). The first album by new project John Foxx and the Maths. More song-oriented than some of the preceding albums but built entirely with vintage analogue synthesizers. Retro synthpop, basically.


jf3Torn Sunset (2011). An ambient collaboration with Theo Travis, who’s also worked with Robert Fripp and various jazz and progressive rock musicians. I like Foxx’s work with Harold Budd, but Travis’s flute pushed the line between ambient and new age a bit too much.


jf4Nighthawks (2011). A new release packaged with a reissue of the Foxx/Budd Translucence/Drift Music albums, this teams Foxx and Budd with Ruben Garcia on more piano/electronics ambient music.


jf5The Shape of Things (2011 and 2012). The second release by John Foxx and the Maths came in two versions a few months apart. The first was a 14-track album with an 8-track bonus disc of remixes and collaborations, the second was a single disc with all of the album tracks plus one from the bonus disc and one new track. It basically continues the Maths’ melodic retro electronic song style, if slightly darker.


jf6Evidence (2012). John Foxx and the Maths continue to develop their style, but this album is a mix of new material, collaborations, and remixes rather than a single piece of work conceived as a new album.


jf7Analogue Circuit: Live At The Roundhouse (2012). This is a big package from a big concert, with John Foxx and the expanded version of the Maths and special guest, former Ultravox guitarist Robin Simon, playing songs from Ultravox’s 1978 album Systems of Romance, Foxx’s 1980 Metamatic era, and the recent Maths material on one DVD and two CDs.


jf8Rhapsody (2013). Currently the final recording by John Foxx and the Maths, this is a “live in the studio” album, presenting solo Foxx, Maths, and Ultravox songs as they might be played live but with the sound quality of a studio recording.


jf9Gazelle Twin/I Speak Machine: Exponentialism (2013). Not exactly a Foxx album, this is an EP featuring four Foxx/Ultravox songs as covered by two women who worked with Foxx in recent years on Maths projects, released by Foxx’s label.


jf10Empty Avenues (2013). Musicians from The Belbury Poly and The Advisory Circle, of the Ghost Box label, known for retro/hauntological electronic music, collaborate with Foxx under the name John Foxx and the Belbury Circle. It’s a beautifully melodic EP, the least synth-purist thing he’s done in years, with some of his best singing and songwriting in a long time.


jf11European Splendour (2013) Another EP, this time in collaboration with Jori Hulkkonen. More electronic than Empty Avenues but just as strong and melodic. These two EPs rank among his best recordings since the 1980s. Or ever, really.


jf12B-Movie (Ballardian Video Neuronica) (2014). Back to the conceptual, this instrumental electronic album sounds like outtakes from Metamatic and soundtracked a video inspired by the work of JG Ballard.


jf13Evidence Of Time Travel (2014). More conceptual instrumental electronica, this collaboration with Steve D’Agostino is the soundtrack for a multimedia work by the artist Karborn (apparently Foxx’s son). Somewhat more austere and abstract than B-Movie, but not overwhelmingly dissimilar.


jf14London Overgrown (2015). Inspired by the experience of moving to London in the 1970s as well as by Ballard’s disaster novels and surrealist art, Foxx has long incorporated references to visions of an abandoned, overgrown London in his music over the years. This is something of a summation of the concept, recycling a couple of tracks from other sources, including bits of Cathedral Oceans with the vocals removed. But it works well and nobody else makes ambient quite like this.


jf15Ghost Harmonic: Codex (2015). Another strong ambient album, this collaboration between Foxx, Benge (from the Maths), and violinist Diana Yukawa.


That’s a lot of music to absorb. The critics loved the Maths albums; I liked them quite a bit, but my favourites here would be the two EPs from 2013 and last year’s ambient albums.



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