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viewing 1 To 25 of 34 items
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LP
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META 077LP
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Reissue. 40th anniversary gatefold and limited-edition version of John Foxx's classic 1983 album, The Golden Section. Features the singles "Endlessly", "Your Dress", and "Like A Miracle". This version is pressed on translucent clear vinyl.
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LP
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META 078LP
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Annexe is a sister album to John Foxx's The Golden Section (40th anniversary edition, META 077LP). Includes all of the B-sides from that album, rarities previously unreleased on vinyl, plus the original single version of "Endlessly". Gatefold; red vinyl.
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CD
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META 067CD
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John Foxx And The Maths return with a new line-up on their fifth studio album, Howl. Former Ultravox guitarist Robin Simon joins Foxx, Benge (Ben Edwards), and Hannah Peel after previously guesting with The Maths at their debut Roundhouse show in 2010. Work on the album began back in April 2019 at Benge's Memetune studios in Cornwall with Rob Simon involved right from the start, his contributions instantly mutating the original ideas into something new. Foxx who first worked with Simon on Ultravox's Systems Of Romance album in 1978. Forward-looking, intuitive and risk taking from the start (Critic Mark Fisher summed them up as "a glimpse into another world in which rock 'n' roll was invented on Moogs") their passion for the strange sounds and atmospheres they seduce and rip from the machines in Benge's studio has inspired a series of fiercely personal electronic records -- The Shape of Things (META 029LP, 2012), Evidence (META 031CD, 2013), and The Machine (META 062CD/LP, 2017), an eerie instrumental score for the theatre production of E.M. Forster's The Machine Stops. Along the way they've collaborated with The Soft Moon, Gazelle Twin, ADULT., Xeno & Oaklander, Gary Numan, Matthew Dear, and many more, but at the core of everything is Foxx and the Cornish-based artist/producer. Hannah Peel joined the line-up on the Interplay tour in 2011 and has played every show since, while also adding violin to Evidence and of course, Howl. Foxx describes her string-led contributions as "luscious, expansive and eloquent." The Maths have created an album of dark, writhing glamor. Opener "My Ghost" sounds like haunted static in a cold wind, the title track is a twisted glam-punk celebration of "the outsider" who leaves the fringes to make himself visible, while Foxx switches to a sinister Ferry-esque croon on "Tarzan And Jane Regained". "New York Times" is a report back from the city of the 1970s, with Foxx's vocals gently coaxing out the vulnerability of its street characters and Factory stars, while "Last Time I Saw You" revels in an ice-cool narrative illuminated by neon-lit transformations and flickering revelations -- this song is built for streets and strobes. The album ends with "Strange Beauty", where Foxx sounds like an echo from the 1950s -- a voice that is still searching across all these years for something just out of reach.
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META 064LP
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Alongside the raw, icy aggression of vocal-led "Burning Car" and "Miss Machinery", this collection of instrumental music from 1980 initially appeared on the 2018 Metamatic box set (META 063CD). Now on vinyl for the first time to celebrate Metamatic's 40th anniversary in January 2020, this is a haunted, at times beautiful electronic soundtrack which stands as a sister album to the main work. Photo by C.P. Gabrin. Artwork by Jonathan Barnbrook.
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3CD
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META 063CD
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An expanded reissue of John Foxx's Metamatic, originally released in 1980. The original ten-track album was remastered from analog tapes back in 2014, along with various B sides. A few tapes full of instrumental music from the session were also set aside for remastering but these revealed further discoveries, including alternative mixes and the song "Miss Machinery" -- a mutant, electro-punk twist on Foxx B side, "20th Century". Meanwhile John Foxx assembled his notebooks from the period which included lists of possible track titles that have now been used for the unreleased material on this album. Some of the notes were also scanned for the artwork, along with previously unseen photos as well as rare drawings and illustrations by the artist. Jonathan Barnbrook (regular Foxx collaborator and Bowie's Blackstar designer) worked on the new reissue design as the project grew to 49 tracks across three CDs. This includes the 15 instrumentals on the third CD, which collectively sound like a lost electronic soundtrack with echoes of Quatermass, BBC's Radiophonic Workshop, and the dark DIY electronics of Thomas Leer and Robert Rental. Features Previously unreleased tracks; every B side, outtake, and unreleased track has been taken from the best possible source and (re)mastered over the last four years. Triple-CD in clamshell box; Includes six art cards and 40-page booklet with previously unseen photos and rare drawings and illustrations by John Foxx; 2014 remaster of Metamatic album from analog tapes.
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CD
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META 062CD
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Directed by York Theatre Royal's associate director Juliet Forster, Neil Duffield's adaptation of E.M. Forster's chilling short story The Machine Stops (1909) explores humanity's increasingly intricate and complex relationship with technology. The acclaimed production, which opened in 2016 and toured again in 2017, features a specially composed soundtrack by John Foxx And The Maths -- John Foxx and Benge. This forms much of the music on The Machine, although there are new mixes and some extended material as the pair developed stage music into a fully-fledged album. Described as "eerie", "evocative", and "a triumphant score of chest-crushing anxiety" by The Independent and The Guardian in their stage reviews, the music (created entirely on analog synthesizers and drum machines) is some of the finest the pair have created yet. The Machine's rich atmospheres move from the sinister breathing effects that start on "The Ghost In The Machine" through moments of beauty on "The Other Mother" and ARP Odyssey-soloing "Transworld Travelogue" into an ancient, mythic song on "Memory Oxide" where Foxx further investigates a style that he first explored on his own Cathedral Oceans (1997). Elizabeth Bernholz (Gazelle Twin) provides the high, lilting vocals on "Genetic Hymnal" and the album ends -- as does the stage production -- with the elegiac theme of "Orphan Waltz".
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META 062LP
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LP version. Directed by York Theatre Royal's associate director Juliet Forster, Neil Duffield's adaptation of E.M. Forster's chilling short story The Machine Stops (1909) explores humanity's increasingly intricate and complex relationship with technology. The acclaimed production, which opened in 2016 and toured again in 2017, features a specially composed soundtrack by John Foxx And The Maths -- John Foxx and Benge. This forms much of the music on The Machine, although there are new mixes and some extended material as the pair developed stage music into a fully-fledged album. Described as "eerie", "evocative", and "a triumphant score of chest-crushing anxiety" by The Independent and The Guardian in their stage reviews, the music (created entirely on analog synthesizers and drum machines) is some of the finest the pair have created yet. The Machine's rich atmospheres move from the sinister breathing effects that start on "The Ghost In The Machine" through moments of beauty on "The Other Mother" and ARP Odyssey-soloing "Transworld Travelogue" into an ancient, mythic song on "Memory Oxide" where Foxx further investigates a style that he first explored on his own Cathedral Oceans (1997). Elizabeth Bernholz (Gazelle Twin) provides the high, lilting vocals on "Genetic Hymnal" and the album ends -- as does the stage production -- with the elegiac theme of "Orphan Waltz".
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CD+DVD
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META 061DVD
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Limited edition deluxe CD+DVD version. DVD is NTSC, region-free. DVD includes A Man, A Woman And A City, a film by Japanese director Macoto Tezka containing 11 videos filmed in Tokyo with music by John Foxx And The Maths.
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META 061CD
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21st Century: A Man, A Woman And A City highlights some of John Foxx's best songs from 2000 onward. These include his work with Louis Gordon, John Foxx And The Maths, and Robin Guthrie (Cocteau Twins), as well as collaborations with Gazelle Twin, The Belbury Circle (Ghost Box), Matthew Dear, Jori Hulkkonen, and The Soft Moon. There are also two brand-new John Foxx And The Maths tracks -- "A Many Splendoured Thing" and "A Man And A Woman" -- plus two previously unreleased remixes by OMD and ADULT. Finally, the previously unreleased album closer, "Talk (Are You Listening To Me?)," brings together John Foxx And The Maths with Gary Numan for the first time. The album's stunning cover image was created by John Foxx for the project.
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12"
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META 060EP
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Five of John Foxx's favorite contemporary artists cover tracks from his 1980 Metamatic album. Wrangler (with lead vocals by Cabaret Voltaire's Stephen Mallinder) and Gazelle Twin give the surreal atmosphere of "He's A Liquid" a sinister, darker edge. Hannah Peel explores "Tidal Wave" with voice, electronics, and music box, while LoneLady strips back "030" with voice, beats, guitar, and cello. The Soft Moon's "No-One Driving" blends stomping mechanical beats, guitars, and intense keyboards, and Xeno & Oaklander's ferocious analog "He's A Liquid" features vocals by Liz Wendelbo. Artwork by Jonathan Barnbrook, designer of David Bowie's Blackstar (2016). Limited edition of 500.
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META 059LP
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This vinyl-only release comes in a lavish gatefold sleeve designed by Jonathan Barnbrook, designer of David Bowie's Blackstar (2016). The release is limited to 750 individually numbered copies. Inspired by a rare Japanese six-track mini-album of the same name that included singles and B-sides from the 1980 Metamatic era, this release expands that concept into a full 12-track LP featuring tracks such as "This City," "My Face," "Mr No," "Glimmer," and the title-track, all mastered and cut for this release. This is the first time that "Like A Miracle (Alternative Version)" and "Young Love" have appeared on vinyl.
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META 055CD
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2015 reissue; originally released in 2011. "I was at art school. A girl I was in class with played Gymnopedies on the lecture piano one afternoon, June 1966. I remember the scene exactly -- old Victorian art school, doors open to a long avenue of trees. River beyond. Summer glistening outside. I was very young and everything seemed magical and infinitely promising. Completely captivated in a moment of stillness and wonder. It was also a first exposure to successful minimalism -- the music was so simple, yet profoundly elusive and subtle. Never forgot it. Everything else followed from that single moment" --John Foxx. The Nighthawks album is dedicated to Ruben Garcia, who, sadly, died in 2013. John Foxx: "Harold Budd recommended Ruben Garcia's music to me -- and that alone is a significant achievement for any musician. His album Room Full of Easels illustrates why Harold was so intrigued. It's inventive, tranquil and joyful music from a pure spirit -- a truly independent and idiosyncratic artist. I count myself very fortunate to have been involved with a small part of the recorded music Ruben left behind." Nighthawks was originally released in 2011 and is now part of the Metamatic label's catalog for the first time. It's a moody, cinematic album, very noir and New York, still full of wonder but with a sense of unease and a colder atmosphere blowing through the late-night piano strikes. John Foxx and Budd are keen to do more work together, but, as Budd says, "I have no idea about what's coming up next. I suppose I should be concerned about that. I don't like counselling people to be blasé, because if nothing was happening for a long time it would be maddening, but I'm not there yet, so I don't know."
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2CD
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META 042CD
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2015 reissue; originally released in 2003. The luminous piano playing of Translucence and the stunning extended reverbs of Drift Music (both originally released in 2003) form a double CD with new artwork by John Foxx. The music of Translucence has an intelligence, purity, and reserve, but it's also sensual and dream-like, a feeling that is stretched even further by the gorgeous Drift Music. "Really I'm Harold's apprentice," says John Foxx. "Along with Satie, he taught me almost everything I know about this kind of music. What you really look for -- that instant when something magical and mysterious crystallizes in the air. I always think of one moment working with Harold as the epitome of this. There's this track on Translucence called 'Spoken Roses.' I still play it and think -- I recorded that. It's Harold's music and I was lucky enough to be there to catch it from the air. It's a truly splendid piece, a direct and beautiful interplay between sound and performance. True minimalism is concerned with isolating something dignified and beautiful, presenting it without unnecessary additions, so you can fully appreciate it." Both artists are keen to do more work together, but, as Budd says, "I have no idea about what's coming up next. I suppose I should be concerned about that. I don't like counselling people to be blasé, because if nothing was happening for a long time it would be maddening, but I'm not there yet, so I don't know."
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META 058CD
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London Overgrown is a project that John Foxx has been working on for years, inspired by his own experiences of London -- including an abandoned, overgrown Shoreditch in the early 1980s -- futuristic visions of a derelict city dating back to the sci-fi of the Quatermass TV series (which he watched as a child), and a strong desire to propose "an actual city," as John Foxx puts it. "A plan for London. A beautiful new overgrown city. Perhaps this may be initiated gradually, by obtaining permission to allow a street or two to become overgrown, them it may come to be seen as a Post Carbon City, a way of greening London. Let's practice vertical gardening all over buildings everywhere. Create the Hanging Gardens of Shoreditch, The Glades of Soho, encourage London to become a truly green city. Let's resurrect Vauxhall Pleasure Gardens. Allow Hyde Park to spread through Soho to the river. Encourage Hampstead Heath to meet Richmond Park at its borders, via all the squares and gardens and rooftops, right across London..." The ambient electronic music forms immersive soundscapes for an empty, overgrown city; a wordless relative of John Foxx's Cathedral Oceans CD (1997).
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META 053CD
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2014 release. Evidence of Time Travel is a unique investigation of the terrors and pleasures of temporal displacement. A sinister sonic architecture of drum-machine-music and analog synthesizers. Opens with "The Forbidden Experiment," as surveillance TV glitches and the ghostly, ripped-up multi-temporal universe of "Evidence of Time Travel" infiltrates the labyrinth of dark electronica. Span 40 years in a moment... ultimate time transfusion... skin crackles, a rhapsody in flames... witness images of torn, ruthless smiles through the crashed distortion; try to recall the future memory of a figure lost on a distant shore.
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META 053LP
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LP version. 2014 release. Evidence of Time Travel is a unique investigation of the terrors and pleasures of temporal displacement. A sinister sonic architecture of drum-machine-music and analog synthesizers. Opens with "The Forbidden Experiment," as surveillance TV glitches and the ghostly, ripped-up multi-temporal universe of "Evidence of Time Travel" infiltrates the labyrinth of dark electronica. Span 40 years in a moment... ultimate time transfusion... skin crackles, a rhapsody in flames... witness images of torn, ruthless smiles through the crashed distortion; try to recall the future memory of a figure lost on a distant shore.
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2LP
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META 028-29LP
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2014 release. Combined vinyl edition of John Foxx and Benge's 2011 albums Interplay (META 028CD/LP) and The Shape of Things (META 029CD/LP). Benge (Ben Edwards) is best known for his 2007 album Twenty Systems, which Brian Eno described as "a brilliant contribution to the archaeology of electronic music." He and John Foxx craft their sound from analog synthesizers and drum machines, conjuring a moody atmosphere that balances pop with raw experimentalism. Exclusive Jonathan Barnbrook print.
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META 016CD
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2008 release. Recorded live on the Metamatic UK tour in autumn 2007. Programmed, produced, and mixed at Longwave Studios.
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META 050CD
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2014 release. John Foxx's solo instrumental album was recorded and assembled for a cut-up/collage movie by John Foxx and visual artist Karborn, inspired by the themes, influence, and text of British novelist J. G. Ballard. Screened as part of Brighton's Cine-City festival in late 2012, the pair described the work as "a film and sound seance manifesting J G Ballard neurones. Mobilised by ultracolour and inframusic, anatomised hallucinogenetics and proximity psychopathagens." The montage movie -- often beautiful and surreal in its collision of images -- can be viewed online at hyperballard.com or on Vimeo (vimeo.com/95105838). The album features two collaborations -- "Geometry, Collision and Coincidence" with Benge from John Foxx and the Maths, and "Disaster Series," which was co-written with Steve D'Agostino. All the music is exclusive to this soundtrack except "The Other Side," an extract from John Foxx's as-yet-unreleased Electricity & Ghosts album which just happened to fit with the visuals. The soundtrack runs as a continuous piece of music in the first part of B-Movie including effects and links that relate to the film. The second half of the album features all the individual tracks plus "Dashboard Melt," which Foxx recorded for the project but in the end didn't use. Jonathan Barnbrook's stunning artwork for the album features Ballard-inspired images created by Karborn.
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CD
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META 031CD
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2012 release. The 15-track CD brings together collaborations with The Soft Moon (the post-punk psychedelia of the title-track); Gazelle Twin (including the strikingly beautiful "Changelings"); New York duo Xeno & Oaklander; Moog maverick Tara Busch and Ghostly International's Matthew Dear, plus a Pink Floyd cover and some John Foxx/Benge material. This includes the rich analog glow of "Walk" and apocalyptic ballad "Only Lovers Left Alive." Meanwhile, regular Maths live band member Hannah Peel plays violin on "Neon Vertigo" and "My Town." Evidence is John Foxx and the Maths' most atmospheric and darkly percussive album so far -- built around stark, late-night rhythms. The ambient spaces in the music allow for experiments with textures and mood, with dreamlike echoes of Massive Attack, dub (in spirit not pastiche), Dead Can Dance, and the ultra-introspective Japan. The edgy beats of the opening track "Personal Magnetism" are followed by "Evidence," featuring The Soft Moon's Luis Vasquez. The slow, minimalist "That Sudden Switch" takes the European art-movie approach of Xeno & Oaklander and re-invents it as post-dub electronic pop. "Talk (Beneath Your Dreams)" features US electronic artist Matthew Dear taking the role of the sleeper as a conversation is held in a dream. It's a chilly, nightmarish track but like much of this album it has motion -- Dear adding new techno rhythms as well as a Bowie-esque vocal in the final verses. "Neon Vertigo" furthers the noir tension with massive bass sounds and "space violin" from Hannah Peel, while "Changelings" is in many ways the centerpiece of the album. Originally written and recorded by Gazelle Twin, "Changelings" retains only her voice as The Maths rebuild it completely from scratch. It's arguably one of Benge's finest moments in the studio so far, while John Foxx's reverb-drenched backing vocals complete this stunning, end-of-the-world song. "A Falling Star" is the reverse of "Changelings" -- this time it's a John Foxx/Benge track reworked by Gazelle Twin. In this context, the song becomes an icy but epic ballad, full of siren vocals and a sense of release as it stretches into the long, elegant fadeout. In fact, "A Falling Star" does signal a change in the album as the mood evolves into something more reflective. This final section climaxes with the electronic harp music of "Myriads" and the last song, "Only Lovers Left Alive" -- a pretty melody found on an old discarded reel-to-reel; nostalgic, the sound of memory and tape creating one of the album's most moving tracks.
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LP
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META 028LP
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LP version. Pressed on 180-gram vinyl. Presented in spot varnish sleeve.
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CD+DVD
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META 025CD
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2010 release. This features unique collaborations between John Foxx and some of his favorite film-makers, with all of the short movies on the DVD being made especially for this project. On top of that, the CD features all the music for the films, plus tracks that John Foxx had recorded as "possibilities" for soundtracks. The final track on the disc, "Over the Mirage," is a collaboration between John Foxx, Harold Budd, and Ruben Garcia, while both parts ("2" and "7") of A Secret Life (META 022CD), as well as "Violet Bloom," were recorded with Steve D'Agostino. Ex-Japan percussionist Steve Jansen also features on the A Secret Life instrumentals. All of the stunning artwork for the project was designed by Jonathan Barnbook, who has previously worked with Damien Hirst and also David Bowie, designing the sleeves and inner booklets for his Heathen (2002) and Reality (2003) albums. Includes films by Karborn, D'Agostino, Ian Emes, Macoto Tezka, and Barnbrook.
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CD
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META 023CD
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2009 release. Like John Foxx's 2009 A Secret Life album with Steve Jansen (ex-Japan) (META 022CD), his collaboration with Robin Guthrie was an idea that began when the pair performed at a Harold Budd concert in May 2005. Layers of echoes and reverberations are explored on Mirrorball, so that Guthrie's unique playing merges with abstract, often improvised vocals -- a style that John Foxx has explored on his own Cathedral Oceans albums. Robin Guthrie has scored two movies in the years leading up to this album -- Gregg Araki's Mysterious Skin (2004) and Dany Saadia's 3:19 Nada es Casualidad (2006). He has recorded the instrumental albums Imperial (2003) and Continental (2006) and also several collaborations with pianist Harold Budd, including Before the Day Breaks and After the Night Falls in 2007. The former Cocteau Twins guitarist and producer has also performed extensively with his hour-long animated film Lumière (2003), and premiered the follow-up, Galerie, in 2008; both films were created as backdrops for his atmospheric, hypnotic guitar-based instrumentals -- a style that has been a massive influence on everyone from My Bloody Valentine to Antony and the Johnsons. John Foxx has been experimenting as a film-maker (with a pioneering video for LFO's 1991 hit "LFO" and performances of his 2006 Super 8 project Tiny Colour Movies in Melbourne, London, and Barcelona), artist (with exhibitions in London and New York and the use of his images on the covers of books by Anthony Burgess and Salman Rushdie), and musician, and he's also developing a growing international reputation as a writer -- in 2009 he headlined a major literature festival where he read extracts from his unfinished novel The Quiet Man.
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5CD BOX
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META 052CD
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2014 release. This five-CD box set covers the four albums that John Foxx released between 1980 and 1985 -- Metamatic (1980), The Garden (1981), The Golden Section (1983), and In Mysterious Ways (1985) -- plus B-sides and outtakes from the sessions which have been added as bonus tracks after each original album, and on a fifth CD, Fusion/Fission. The Virgin Years includes a previously unreleased analog master of Metamatic, along with remasters of the B-sides -- "This City," "Film One," etc. The black box also houses five postcards with the artwork for the singles "Underpass," "No-One Driving," "Europe After the Rain," "Endlessly," and "Stars on Fire."
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2CD
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META 026CD
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2010 expanded reissue of 2003 release. This double-disc edition of Crash and Burn features five previously unreleased tracks ("Labyrinth Generator," "Storm Warning," "Broadway Submarine," "Dust And Light (Live)," and "Invisible Women (2) (Live)," as well as material from 2003's limited edition Drive EP. The accompanying booklet has been expanded to 20 pages, and includes all of the lyrics for the first time.
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