John Foxx And The
Maths – Howl (Metamatic Records)
LP / CD / DL
24 July 2020
Legendary singer and
star studded band return with brand new album.
Any synth-pop fan
that knows their onions with be well aware of John Foxx. Any new wave fan too, and ambient, art rock
and even post punk. If there was any
artist performing today worthy of the title ‘legend’ then it would be John
Foxx. Maybe best known for his early 80s
hits Underpass, Europe After The Rain and Dancing Like A Gun, he has never shied
away from recording, scoring soundtracks of even exhibiting photography and
art.
The Maths, consisting
of Benge (Oblong, Wrangler, Blancmange, Creep Show) and Hannah Peel (The
Magnetic North, Paul Weller, OMD) are now joined by former Ultravox guitarist
Robin Simon. Both Foxx and Simon were members
of various incarnations of what became Ultravox both leaving in 1979 when Foxx
was of course replaced on vocals by Midge Ure.
Howl is a triumph,
and probably sees septuagenarian Foxx give his finest vocal performance of his
career. Opener, My Ghost is a powerful
taste of what is to come. Excessive
synths and guitars which swirl and compete with each other vying for the spotlight,
both of them winning the marathon in equal first place. The title track echoes Bowie’s Fashion as the
writhing guitar seems to scream in pain as it twists itself around and away
from the song both opposing and complimenting it as it goes.
Foxx occasionally
sounds like the Thin White Duke himself, an effortless outpouring that sounds as
fresh and exciting as many of his contemporaries half his age. There are ‘trademark’ Foxx synth sounds
courtesy of The Maths which make for an almost 80s collection that has been
completely brought up to date, no doubt aided by Benge and his collection of
classic keyboards.
The intro to Everything
Is Happening At The Same Time begins with an effect not dissimilar to Visage by
Visage as both voice and instrumentation swirl in an a Sgt Pepper/Yellow
Submarine LSD induced beauty. Foxx is on
top form. It’s difficult to pick out a highlight
such is the quality of its eight tracks and here is plenty to give Howl some
bit chunks of radio airplay as its experimentation has enough of a commercial
aspect to reach larger audiences.
Tarzan And Jane
Regained is anthemic, The Dance is subtle and dreamlike, New York Times is
tight and anxious and, once again an incredibly addictive track. There are several instances of Bowie
influence both in voice and guitar work and, Howl would not doubt suit the
tastes of those admirers too whilst being an undoubted thrill to fans of
Foxx. Last Time I Saw You is raw and
Simon is in incredible form. As the
album closes with Strange Beauty, Foxx croons across an empty universe with an
incredibly moving performance and some stunning string-led sections from Peel.
In short, Howl is a
stunning album – once which improves with every listen as intricate sounds are
discovered on each play – and, one that sees John Foxx at a career high. Inventive, expansive and totally
encapsulating.
Published on Louder Than War 21 July 2020 - here.
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