Uncategorized | Tweet from Metamatic Records (@foxxmetamedia)

Metamatic Records (@foxxmetamedia) tweeted at 9:02 am on Tue, Jan 24, 2017:
Rich, beautiful sounding Moog Modular 3C @moogmusicinc on new John Foxx & The Maths track, The Other Mother https://t.co/l7SJx49td1

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Uncategorized | Sacred Bones mark 100th release with lost album from NYC goth-punks The Hunt

Sacred Bones mark 100th release with lost album from NYC goth-punks The Hunt

Brooklyn’s Sacred Bones imprint hits its centenary. 

Since 2007, Sacred Bones have turned out dark psychedelic pop and alternative rock with a gothic streak – if it could reasonably soundtrack a bad trip, it’s probably got a potential place on their roster. Their biggest graduate remains Zola Jesus, who issued her breakthrough The Spoils EP on the imprint and has repeatedly returned ever since. Other key releases include records from dark Scandinavian shoegazers Lust For Youth, Gary War‘s blitzed 2009 LP Horribles Parade, and (major personal favourite alert) Amen Dunes’ brilliant 2011 album Through Donkey Jaw. Cannily, they’ve also recently formed a relationship with David Lynch, releasing his The Big Dream LP, reissuing the grinding Eraserhead OST, and excavating some forgotten Twin Peaks soundtrack material.

The 100th Sacred Bones release arrives from defunct NYC duo The Hunt – who, in a neat bit of circularity, were responsible for the first disc in the label’s catalogue. Jasper McGandy and Christian Kount’s post-punk project released the One Thousand Nights 7″ on the label, then promptly disappeared from recording history. In 2009, the group laid down debut album The Hunt Begins in Boston, but the record never saw the light of day. Interestingly, both McGandy and Kount now earn their keep playing with Sean Ragon’s warped neo-folk project Cult Of Youth.

Sacred Bones’ edition will mark the album’s first official release; expect spindly post-punk with a Gothic heart and more than a few nods to Interpol. The nine-track LP will arrive on December 11 – yep, that’s 11/12/13. Click below to stream ‘Fifteen Minutes’.

1. Mountains (3:24)
2. Fifteen Minutes (3:46)
3. Summer of Hate (3:04)
4. Set the Rising Sun (4:06)
5. Black and White (4:32)
6. Scripts (5:12)
7. Trainwreck (3:58)
8. When The Sky Turns Black (3:24)
9. One Thousand Nights (4:23)


Ghost Box DJs, House and Jupp, will be opening events in the Talking Shop Tent at The Greenman festival this Friday (16th August) at 12:00, midday. Their sets will book end a talk by marvellous, magical Mark Pilkington at 12:45 and  then an interview with mighty, megalithical, Julian Cope at 14:15.

John Foxx & The Maths | The Shape Of Things (Released 19/3/2012)



‘From exultant motorik to giddy Depeche Mode-like synth pop to the macabre ‘Talk’, The Shape of Things is consistently absorbing, as good as any of Foxx’s early-80s benchmarks.’ 4/5 Mojo

‘He has never seemed so relevant, nor sounded so modern, as he does in 2012. Foxx’s best album since Metamatic. These ancient gizmos sound as much like the future as they did in 1980, and so does the fantastic Mr Foxx.’ BBC.co.uk

‘This is a record of utopias and dystopias, perfect synth pop. It’s also an entirely human record though: the common theme that emerges is one of corrupted memories: failed relationships are visualised as futures that never came, while even the most robotic of tunes feature traces of blue skies and ocean.’ 5/5 Artrocker (ALBUM OF THE MONTH)

The Shape Of Things is an absolute triumph.’ 4/5 FACT magazine

‘Foxx has rediscovered his musical touch. This sequel to 2011′s Interplay again taps a renewed interest in minimal wave’s glacial harmonies and pattering beats, though on haunted elegies such as ‘Rear-View Mirror’ and ‘September Town’, with their sonorous vocals and JG Ballard-esque vision of decaying modernity, it’s the man who triumphs over the machines.’ 3/5 Q Magazine

‘Sharply observational but with a soft centre that makes it a moving experience. With such an intense creative zeal at the moment, John Foxx is continuing from strength to strength.’ 5/5 DMC World

‘In The Shape Of Things Foxx, ably assisted by his new lieutenants and always with one eye on dreams of an imagined future, continues to make his most startlingly contemporary-sounding music in years.’ The Quietus

‘A retro-futurist show of bubbling electronics and dolorous laments.’ 7/10 Uncut

‘There’s an aroma of Bowie’s seminal Low here, especially on ‘Unrecognised’ which comes fuelled by techno bubbles, striking synth lines and a mournful vocal invoking loss. Another great LP from Foxx.’ 4/5 Record Collector

‘By the power of JG Ballard’s Roland Juno standing under an autobahn flyover in Berlin in 1973 in the cold war rain wearing a fedora – it’s a new John Foxx album! Having gone through 360 degree electro rehabilitation recently – with the help of East London analogue synthesizer archivist Ben ‘Benge’ Edwards – Foxx has not only rescued himself from being a footnote of 80s night nostalgia but has re-established himself as a synth pop artist of note and proto hauntologist. More introspective but no less gripping than last year’s great Interplay.’ 8/10 Vice Magazine

‘An electro corker. This is an album packed with proper tunes as well as atmosphere. Foxx’s vocals might sound as detached as ever, but he also demonstrates an ear for an infectious melody on ‘Tides’ and the elegant ‘Vapour Trails’, which catch him slotting neatly into a gap between Gary Numan and David Sylvian. Electronic music, currently enjoying another resurgence, owes him a considerable debt but it also feels eerily like an album very much about the now rather than an album about the past.’ 3/5 The Arts Desk

‘The electronic pioneer shows how it’s done. Foxx’s talent for melody and lyrics hasn’t left him, and songs like the almost folky ‘September Town’ and the stuttering waltz ‘The Shadow Of His Former Self’ are in a direct line from ‘Europe After The Rain’ and ‘The Quiet Men.’ Anyone tempted by recent electronic music and who wants to see it done by one of its originators would be well advised to nip by here.’ 7/10 Classic Rock

”Foxx’s fascination with the dark underbelly of urban existence remains unabated here. Whack this round your jugs on a midnight trip to London’s Soho and there’ll be little requirement for your inquisitive side to imagine what lurks beyond the sordid stairways or afterhours drinking establishments, as Foxx is more than willing to take you inside, upstairs and down the back alleys.’ 8/10 Barcode

‘Foxx is a man whose creative touch paper has been well and truly lit in
the last two years. The Shape Of Things is an incredibly assured piece of work,
machine-like in its execution but revealing a soulful, tender exterior that we do
not often seen from the former Ultravox man. It suits him well – and on this
evidence further rewards will soon follow.’ 4/5 Musicomh. com

The Shape Of Things is full of emotion, intensity and avant-garde twists.’ 8/10 Hi-Fi Choice