Electronic Sound Magazine have just announced that issue 48 (47 is released next week – See below) will include a re-issue of John Foxx‘s classic “Underpass” – on red vinyl!
Here’s the actual teaser from the e-mail:
A quick heads up about Issue 48 (our last issue of 2018) while we’re here. We are very excited to announce that this magazine and music bundle will feature a limited edition reissue of John Foxx‘s ‘Underpass’ seven-inch on Christmas red vinyl. We are expecting an extremely high demand for this, so the only way to ensure you’ll get a copy is to sign up to the Bundle Subscription. We’ve got loads of other fantastic goodies in the pipeline for 2019 too, so sign up now and you won’t miss out!
Get in now!
This will sell out before it even starts, so the only way to guarantee a copy is to subscribe NOW.
(I’ve already done it – I’m not fussed about issue 47 (Clockwork Orange), but NO WAY am I missing out on this..
There’s a discount as well, you get issue 47 for a fiver instead of the usual tenner, so it’s worth it..
Remember, you heard it here first..
Issue 47 details and subscribe link:
Click the image for the subscribe link..
** I am not in any way affiliated with Electronic Sound Magazine (other than having £100 in shares) – I am promoting this because It’s a hell of a good deal **
JOHN FOXX & THE MATHS to support OMD for English Electric tour
The UK dates for OMD’s forthcoming English Electric tour will see support by JOHN FOXX & THE MATHS.
JOHN FOXX has been a presence on the UK electronic music scene for many years and was the original vocalist for Ultravox before leaving to pursue a solo music career (during which Midge Ure joined Ultravox).
Foxx’s solo career post-Ultravox is most notable for the single Underpass which reached No. 31 in the UK charts and has become a classic of the early UK synthpop scene. Foxx’s album Metamatic has likewise been established as one of the most prominent electronic music albums of its time.
John Foxx & The Maths came about as a collaboration between Foxx and producer and musician Benge. The album Interplay arrived in March 2011 which was described by The Quiteus as “one of the finest electronic records you’ll hear in 2011.” Their third album release Evidence features collaborations with The Soft Moon, Gazelle Twin, Xeno & Oaklander and Tara Busch and also includes a cover version of Pink Floyd’s Have A Cigar. Evidence will be released by Metamatic Records on 25th February.
There’s another OMD angle here as John Foxx & The Maths has worked alongside HANNAH PEEL who is perhaps best known for her unique musicbox cover version of OMD’s Electricity as featured on her debut EP Re-Box released in 2010. Our sister site interviewed Hannah in 2011.
The UK leg of the English Electric tour begins in April. More info here: http://www.omd.uk.com/shows”
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. ARTROCKER