FROM METAMATIC RECORDS:
We’re delighted to announce 2 new releases, Rhapsody and Exponentialism, which are available as a multi-buy HERE
John Foxx And The Maths’ Rhapsody is made up of 10 tracks recorded live at London’s MemeTune Studios in late 2011, shortly after the UK Interplay tour. The Maths line-up on this session is as follows: John Foxx (Vocals, keyboards); Benge (Percussion, keyboards); Hannah Peel (Violin, keyboards); Serafina Steer (Bass, keyboards). It’s fantastic to hear a live band playing with electronics, plus the addition of bass guitar and layers of violin also creates fresh angles and edges on many of the songs. Foxx’s voice is often stripped of effects, adding an emotional shiver to songs such as ‘Interplay’, ‘Hiroshima Mon Amour’ and ‘Just For A Moment’. Meanwhile the opening track is an instrumental version of ‘The Good Shadow’, which features – as do nearly all of the tracks – Hannah Peel on violin. Artwork is by Jonathan Barnbrook. Pre-order HERE
Gazelle Twin, I Speak Machine – Exponentialism. This limited edition EP (only 750 copies) features Gazelle Twin and I Speak Machine (Tara Busch’s new project) who explore Foxx’s lyrical themes and ideas on 4 beautifully executed cover versions which also relate strongly to their own work. I Speak Machine’s take on ‘My Sex’ transforms it into a gigantic, cyber-sensual pop song, while ‘I Want To Be A Machine’ is a much darker, stranger transformation. Gazelle Twin has been planning a cover of Foxx/Gordon’s ‘Never Let Me Go’ for a couple of years. In 2011 she told Artrocker Magazine: ‘Never Let Me Go’ is a mirage of maternal comfort in a toxic and unrelenting world. It’s one of those songs I wish I’d made; drenched in analogue pulses and drones, a lullaby-like synth melody accompanying an android (yet emotional) dual-vocal part. I can definitely feel a cover coming on.’ Meanwhile, Gazelle Twin’s stark version of ‘He’s A Liquid’ reveals a different side to her work as she delivers the surreal, dream-like lyrics in a voice that is completely different to the lullabying ‘Never Let Me Go’. Pre-order HERE
Listen to a clip of Gazelle Twin’s cover of ‘Never Let Me Go’ HERE – http://www.youtube.com/watch?v=Q2JizL3phmg&feature=youtu.be
Listen to a clip to I Speak Machine’s version of ‘I Want To Be A Machine’ HERE – https://soundcloud.com/metamatic-records/i-want-to-be-a-machine-fade
The John Foxx & The Maths/OMD tour is only just over 3 weeks away and we still have a few Gold VIP tickets for the shows. Priced at £55 the Gold VIP package includes a meet and greet with John at the venue, a VIP laminate and an ultra-rare ‘Underpass’ signed Promo CD. With artwork designed by Jonathan Barnbrook, the mixes by Dave Clarke and Oh The Gilt will ONLY be available on CD as part of VIP packages. If you want to go to the meet and greet please order HERE
Listen to the Oh The Gilt remix of ‘Underpass’ HERE – http://thequietus.com/articles/11862-john-foxx-underpass-oh-the-gilt-mix
If you only want the ‘Underpass’ CD and the VIP laminate and aren’t interested in attending the shows then you can now pre-order HERE
Please note, John Foxx & The Maths will do their best to make sure that all VIPs see the soundcheck but we’ve reduced the price to £55 because we can’t guarantee it on every occasion as they are not the headline act. Also, please note, the VIP passes do not give access to the show, so if you want to attend the concert in the evening you need to buy a separate ticket.
Photo by Mike Cooper.
John Foxx and the Maths
25th October 2011
John Foxx’s short national tour to promote new LP Interplay ended with two dates at London’s XOYO venue before moving onto Europe. Whilst first support act Tara Busch lacked spark, Brighton’s Gazelle Twin crackled like a well-stoked fire with a visual image of black Bedouin clothing illuminated by finger lights that perfectly mirrored their pulsing middle eastern electronica over which singer Elizabeth Walling purred out vocals. As for the main course, the physically taunt Foxx was flanked by the formidable team of Hannah Peel (keyboards/violin) and Serafina Steer (keyboards bass) with Benge providing electronic percussion. As a band they were taunt, vibrant and drilled to perfection. Foxx delivered a set list that mixed classic Metamatic faves like ‘Plaza’, ‘He’s A Liquid’, ‘No One Driving’ and ‘A New Kind Of Man’ with more modern fare like ‘Shatterproof’ and ‘The Running Man’ that melodically swung with a pumping electronic heart. The Ultravox! classic ‘Hiroshima Mon Amour’ was also deployed to the delight of the crowd. With a lectern above his synth Foxx resembled a physics lecturer, a Roman senator or even a seasoned politician looking for a vote. Well, being this vibrant – and relevant – at his age he gets mine every time.
Tonight, XOYO is undergoing a blood transfusion, and a steady influx of people whom it might not regard as its usual clientele: synth heads, smart-goths and thin men that look strangely related to William Burroughs are strolling through the shadows and into the club, eager to see what the overlord of synth-pop has to say to them in 2011.
But first there’s the matter of some excellent support acts: Tara Busch sings like Judy Garland in some twisted Disney movie; she appears on stage alone, and she manipulates her Moog, so too does she manipulate the crowd, until they’re eating out of her psychedelic space-hands.
Next up two ogre-sized creatures is Islamic robes hobble onto the stage, followed by an even weirder frontperson who resembles both a Hindu Goddess and a Doctor Who monster from 1975. This is Gazelle Twin, and their songs sound like Portishead having been kidnapped, time-travelled to 3029, then beamed back via hologram. It’s an incredibly sacred-feeling performance, which borders on having a meditational effect, and while our mystical singer howls faceless from behind her widow’s mask, the two robed minions head bang in slow motion, intoxicated and doomed.
Where were we? Ah yes. After much screaming and hysteria, a certain Ultravox founder takes to the stage looking like a handsome but braced-for-duty space captain from a 1950s sci-fi movie. He is surrounded by his space crew – who are armed with computers of course – and all of a sudden, John Foxx & The Maths are GO!
The climactic ‘Shatterproof’ (from the band’s 2011 album, Interplay) kicks things off on an appropriately alien-disco note, with Foxx staring straight-ahead, unshakeable from his mission. Later on, ‘Hiroshima Mon Amour’ and ‘Underpass’ deliver the kind of dystopian visions most of us grew to love him for, all set to 3D laser-noises and glow in the dark beats.
You can’t help but notice, but whenever Foxx finishes off an absolutely storming song (such as ‘Burning Car’), he pulls a very subtle cat-that-got-the-cream face. It’s almost a Roger Moore-style eyebrow, but not quite. This is not only endearing, but entirely justified: the man is still an incredibly dramatic performer, chilling and struck with terror one moment, warm and reassuringly
glowing the next.