Tag: Benge (Page 1 of 10)

FADER Quartz

Having released the debut FADER album ‘First Light’ in 2017, Neil Arthur and Benge now present their third long player ‘Quartz’.

As with previous FADER works, Benge worked alone on the instrumentation at his Memetune Studios complex in Cornwall while Neil Arthur did his lyrics and vocals at his home studio. ‘Quartz’ is an understated artistic statement inspired by incidental atmospheric music used in vintage TV shows. With minimalistic structures started by manipulating and sampling sounds used on Benge’s past recordings, organic yet electronically derived textures provide a reflective and elegiac backdrop.

Benge had no titles for his compositions so sent them over to Arthur identified with names from various paint pots as he was also decorating his home. “I didn’t expect Neil to use them as the basis for the song lyrics” the producer said, “but he is so good at letting his imagination go and he came up with all these amazing lyrics as a result”. The end result is a series of vivid stories and fractured images from a partially obscured viewpoint to provide a dreamy aesthetic.

The icy waltz ‘Serpentine’ opens with its sparse keys like Gary Numan meeting Brian Eno and reminiscent of the former’s ‘Dance’ album from 1981. ‘Porcelain’ retains this stripped down approached but is more sinister, Arthur given a monolithic pulpit for his impassioned semon. But ‘Olympia’ recalls the filmic textures of Ryuichi Sakamoto as the cerebral setting hauntingly sucks the listener in.

Upping the tempo slightly, ‘Gargoyle’ adds shuffling drum machine reinforced by a synthbass squelch as spacey counterpoints and electronic pulses complement the vocal expression. The more gothic ‘Prussian’ snaps along over its spacey atmospherics with Arthur “observing the night” as “all the stars are out!”. A relative of ‘Olympia’, ‘Mondo’ continues the minimal stance while the funereal ‘Manilla’ cleverly uses the photocopying process as a metaphor for life, “A4, foolscap, manila…”.

Utilising a number of spiralling sequences, the ‘Quartz’ title song bursts with mechanised rhythm and icy string machine. Then with a subtle gallop, ‘Lazuli’ dramatically announces rather prophetically “There’s been a scene” with “all hell let loose” before “a final curtain” as the mournful closer ‘Poison’ poignantly confirms “we can’t go back” and must “never return to where we came from”.

‘Quartz’ is FADER’s best album yet, shaped by the clockwork elegance of its title. With its subtlety in detail, it is strangely futuristic while projecting a distinctly timeless quality.


‘Quartz’ is released on 13th May 2022 by Blanc Check Records as a CD ad cassette, pre-order from https://fader.tmstor.es/

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Text by Chi Ming Lai
19th April 2022

BLANCMANGE Commercial Break

Never one to sit still, Neil Arthur explores a new direction for BLANCMANGE’s 14th album ‘Commercial Break’.

While the synthesizer framework remains, the unexpected textures of acoustic six string and various field recordings permeate on this reflective work co-produced by Benge at his Memetune Studios in Cornwall.

To add some of that air and atmosphere that can be missing from many modern productions using computerised media, Neil Arthur has absorbed audio captures of electric saws, seafronts, conversations, bird song and old water pumps into the backdrop.

To a background of sea breezes, a lone bass synth squelches from ‘Share Out The Light’. In the frustrated vein of the classic Northern English comedy show ‘Whatever Happened to The Likely Lads?’, Neil Arthur decides that “A knock on the door, I don’t want to know the score” as the mood envelopes over 5 and a half minutes as “we learn from mistakes”. Cut from a similar cloth, ‘Endless Posts’ is harsher, adding electric guitar in a cutting percussive attack on social media obsession.

Offering something more in the vein of classic OMD, ‘This A State’ sees Neil Arthur still as dry as ever with his wordplay, declaring “this is the state we’re in”! But as our hero is switching channels due to a ‘Commercial Break’, he declares “It’s five to five and it’s Crackerjack” over an a stepped lattice of pulse and throb! Meanwhile with a hypnotic rhythmic backbone behind creepy minimal texturing, ‘Dog Walk In A Cloud’ requests listeners to “make something of it”

But after all the electronics, ‘Empty Street’ surprises with an acoustic guitar instrumental! With a solemn monologue and accompanied by field recordings, ‘Strictly Platonic’ takes the minimal guitar structures further while it electrifies them on the instrumental ‘On A Ride’.

‘Duo’ is stripped down even further with tape manipulations and lone arpeggios but with basic percussive clatter and occasional six string picking, ‘Long Way Road’ adopts a sigh of resignation as its surroundings slowly build with an array of subtle synths in all frequencies.

‘Looking After Aliens’ could be THE DURUTTI COLUMN with its layers of guitars in a neo-classical style, and is an instrumental that can be as far away from ‘Feel Me’ or ‘Living On The Ceiling’ although an understated set of ARP2600 generated pulses are a reminder that this artist is still BLANCMANGE.

The second half may come as a shock to long standing BLANCMANGE fans but it shows Neil Arthur’s appetite to evolve and try something different. He remains the most prolific member of the Synth Britannia generation and one of its most interesting, using the enforced slower pace of the last 18 months as a creative spur.


‘Commercial Break’ is released by Blanc Check on 24th September 2021 in CD, vinyl LP and digital formats, available from http://blancmange.tmstor.es/

Other works by BLANCMANGE are available as digitally direct from https://blancmangemusic.bandcamp.com/

BLANCMANGE’s rescheduled 2021 ‘Mindset’ tour includes:

Tunbridge Wells Forum (11th September), Colchester Arts Centre (16th September), Norwich Arts Centre (17th September), Birmingham Institute 2 (18th September), Gloucester Guild Hall (23rd September), Exeter Phoenix (24th September), Nottingham Rescue Rooms (25th September), Blackburn King George’s Hall (29th September), Newcastle Riverside (30th September), Edinburgh Liquid Room (1st October), Glasgow Oran Mor (2nd October), Southampton The Brook (13th October), Bristol Fleece (14th October), Northampton Roadmender (22nd October), Manchester Club Academy (27th October), Leeds The Wardrobe (28th October), Liverpool Grand Central Hall (29th October), Brighton Concorde 2 (17th November), Harpenden Public Halls (18th November), Cardiff Portland House (25th November), London Under The Bridge (26th November), Shrewsbury Buttermarket (27th November)

http://www.blancmange.co.uk/

https://www.facebook.com/BlancmangeMusic

https://twitter.com/_blancmange_

https://www.instagram.com/neilarthur/


Text by Chi Ming Lai
6th September 2021

JOHN FOXX & THE MATHS Howl

One of the great scene debates runs as follows… what’s better? The John Foxx or Midge Ure era incarnations of ULTRAVOX?

This is as idiotic as the Fish versus Steve Hogarth debates that rage (and they do rage) amongst MARILLION fans or the similar GENESIS camps that exist around lead singers.

It’s akin to comparing apples to oranges and without the front man leaving these bands, we would have been denied spectacular bodies of work and long careers from all concerned which would potentially have been cut shorter. And yes I include Phil Collins in this, bite me…

There is however a “what might have been?” surrounding John Foxx and ULTRAVOX, with or without the exclamation mark. Had he stayed with the band beyond ‘Systems of Romance’, what would it have sounded like? A continuation of the ‘Systems’ sound or something more like the imperious ‘Metamatic’? With the release of ‘Howl’, the fifth album under the guise of JOHN FOXX & THE MATHS, we get an idea of what could have been.

The big news is that Foxx and his Maths collaborators Benge and Hannah Peel are joined by former ULTRAVOX guitarist Robin Simon. Simon appeared with The Maths at the Roundhouse in 2010 so this has been a while coming and it arrives in snarling upfront style with the opener ‘My Ghost’, with its stripped down punky intro morphing into a familiar Foxx effected vocal performance, all underpinned by an insistent rhythm track. On the playout, we get swooping synths under a simple but effective guitar solo.

One of the key contributions Simon brings to the table is what Foxx terms as “Demolition Intercision” and this is shown to its fullest on the title track ‘Howl’.

Recorded in one take which left everyone “standing on their chairs”, the tortured, swooping playing harks back to the songs like ‘Slow Motion’ and ‘Dislocation’ in the way it interplays with the synths and Foxx’s voice.

“Born in the middle of a storm” sings Foxx and this is appropriate as his guitarist whips up a hurricane of noise which at all times remains musical.  Hannah Peel is given room to shine on the next track, ‘Everything Is Happening At The Same Time’, a psychedelic electronic number that appears owes a more than a little to a certain BEATLES song. Given current events, the message of this track is all the more prescient. “we have to choose between the clowns and the fools…” bemoans the lyrics… quite…

‘Tarzan & Jane Regained’ (a contender for title of the year) and ‘The Dance’ tread familiar sonic territory for the Maths which is not to say they are not good songs, in fact ‘The Dance’ is in places a beautiful shimmering piece of electronica.

‘New York Times’ doesn’t outstay its welcome and features some great drum programming. As stated above these are not bad songs, it’s just these three central tracks are bookended by the sonically more interesting ‘stuff’.

‘Last Time I Saw You’ reintroduces Simon’s more upfront guitar work. In the press release, Foxx compares it to violence and it can be at times shocking but also “…a true delight”.

On this and the opening cuts, the almost visceral at times fretwork married to the electronics is not what one would expect from a band leader that is in his five decade as a performer.

This is however the key to John Foxx, he always does the unexpected and doesn’t allow himself to be pigeonholed. As happy to release an ambient work as he is a straightforward ‘pop’ album or indeed to walk away from music altogether, he really is someone that deserves wider recognition. That said, one feels the artist himself would be uncomfortable with that.

Keeping the best to last, closer ‘Strange Beauty’ is possibly the best thing JOHN FOXX & THE MATHS have ever done, an electronic ballad that puts the plodding attempts at similar by bigger bands to shame. Benge’s production on this really does merit his bandmate’s claim that he is this generation’s Conny Plank.

Across this release there is a musicality to the production that is missing from many modern electronic works. The shear fury in places of Robin Simon’s playing could have just been noise at the hands of a lesser, knowing producer but here it is given room to shine. As a closer, this track more than any other points towards that might have been.

Once again John Foxx has shown how to remain relevant in these modern times. ELECTRICITYCLUB.CO.UK has never hidden its love of the man’s prodigious body of work and ‘Howl’ reinforces that further.

At a time when Moog are handing out ‘Innovator’ awards to artists as a purely marketing tool, we should be thankful that performers like John Foxx continue to push their own boundaries instead of playing it safe. I can’t wait to hear what he does next.


‘Howl’ is released by Metamatic Records on 24th July 2020 as a CD and yellow vinyl LP, pre-order from https://johnfoxx.tmstor.es/

http://www.metamatic.com/

https://www.facebook.com/johnfoxxandthemaths/

https://twitter.com/foxxmetamedia

https://johnfoxx.bandcamp.com/


Text by Ian Ferguson
15th July 2020

BLANCMANGE Mindset

‘Mindset’ is the ninth full length BLANCMANGE long player of new material since their return in 2011 with ‘Blanc Burn’.

It is also the third BLANCMANGE album to be released in 2020 after the ‘Nil By Mouth 2’ instrumental collection and the ‘Waiting Room (Volume 1)’ outtakes compendium.

During their initial London Records period, Neil Arthur and Stephen Luscombe only released their albums between 1982 to 1985. With Neil Arthur continuing to fly the BLANCMANGE flag, who have thought there would have been triple that number in less than ten years?

As with recent albums, it is co-produced by Benge and Neil Arthur continues to give his morose take on the world although he maintains “It’s not all bad, but I’m observing stuff and looking for other worlds at the same time we’re living in this one, several things at once and questioning how people react with others, how they’re feeling about themselves and how that impacts on other people.”

Beginning with staccato piano and layers of guitar, the ‘Mindset’ title song offers a Velvets pounding that could also be seen as a NEU! influence with an art rock edge; “So much for giving, so much for taking…” our hero ponders while looking for the truth, but could he also be sardonically quipping “so much forgiving…”?

With the deeply sombre scene set, Neil Arthur’s delivery is anything but a ‘Warm Reception’, although this is all countered by the enjoyable cutting sharpness of the synths which add to a most excellent electronic track. With spacey sweeps, ‘This Is Bliss’ continues the tread as a close relative to ‘Warm Reception’, but a variety of percolating patterns and a deeper trance bass resonance are apparent with a repeated ranting chorus.

The superbly titled ‘Antisocial Media’ references to “Orwellian Thought Police” and captures more of Arthur’s dismay with fantastically primitive synths recalling the early Fast version of ‘Being Boiled’

‘Clean Your House’ is also very synthy with a bubbling bassline and gated pulses, lyrically reflecting on events of recent times but could easily able to applied to more personal relationships with the necessity for the occasional life laundry.

The ‘Mindset’ is played with further on ‘Insomniacs Tonight’, as a “tunnel train of thought” with “long rails on trails” is accompanied by a big rigid beat.

The midtempo minimal synthpop of ‘Sleep With Mannequin’ echoes THE HUMAN LEAGUE in their poppier phase with clean digital drums and analogue passages, but a marvellous concoction reveals itself as KRAFTWERK meets FAITHLESS on the mutant electronic disco of ‘Diagram’ with Arthur repeating like a preacher on how “I want transparency” in his sharp Northern lilt.

‘Not Really (Virtual Reality)’ vents with a rockier musical aggression and pounding drums but closing proceedings, the downcast ‘When’ calls for the truth among the screaming and shouting. As the chorus goes “When is anything about what it’s about?”, there’s the sound of a two note panic alarm recurring to symbolise a state of panic and anxiety.

Neil Arthur’s grim but humourous take on the world continues, but with a lot of choruses and more structure on ‘Mindset’, there are potentially some singalong elements which could rouse audiences at future live shows alongside ‘Living On The Ceiling’ and ‘Blind Vision’.

Strange but accessible pop music for our strange times, Neil Arthur’s dark ‘Mindset’ is only reflecting what many are thinking and it will be on that level which will connect people with this album.


‘Mindset’ is released by Blanc Check on 5th June 2020 in CD, vinyl LP and digital formats, available from http://blancmange.tmstor.es/

Other recent works by BLANCMANGE are available as downloads direct from https://blancmangemusic.bandcamp.com/

BLANCMANGE Rescheduled 2021 ‘Mindset’ tour includes:

Tunbridge Wells Forum (11th September), Colchester Arts Centre (16th September),
Norwich Arts Centre (17th September), Birmingham Institute 2 (18th September),
Gloucester Guild Hall (23rd September), Exeter Phoenix (24th September), Nottingham Rescue Rooms (25th September), Blackburn King George’s Hall (29th September), Newcastle Riverside (30th September), Edinburgh Liquid Room (1st October), Glasgow Oran Mor (2nd October), Southampton The Brook (13th October), Bristol Fleece (14th October), Northampton Roadmender (22nd October), Manchester Club Academy (27th October), Leeds The Wardrobe (28th October), Liverpool Grand Central Hall (29th October), Brighton Concorde 2 (17th November), Harpenden Public Halls (18th November), Cardiff Portland House (25th November), London Under The Bridge (26th November), Shrewsbury Buttermarket (27th November),

http://www.blancmange.co.uk/

https://www.facebook.com/BlancmangeMusic

https://twitter.com/_blancmange_

https://www.instagram.com/neilarthur/


Text by Chi Ming Lai
10th May 2020, updated 21st May 2021

JOHN FOXX & THE MATHS Interview

‘Howl’ is the fifth studio album from JOHN FOXX & THE MATHS and sees the former ULTRAVOX! front man reuniting with his ‘Systems Of Romance’ guitarist Robin Simon.

Also featuring Chief Mathematician Benge along with live band member and regular collaborator Hannah Peel, ‘Howl’ does as its title suggests.

Presenting eight tracks of fierce art rock, it sees guitars as very much part of the scenery in partnership with the electronics. Recorded at Benge’s MemeTune studios in Cornwall , ‘Howl’ is the first JOHN FOXX & THE MATHS album since the instrumental score for a theatre production of EM Forster’s ‘The Machine Stops’, released as ‘The Machine’ in 2017.

Before that, there was an extremely prolific period which saw three albums ‘Interplay’, The Shape Of Things’ and ‘Evidence’ issued between 2011-2013. And this was without Foxx’s other ambient and soundtrack outings.

John Foxx talked about the genesis of ‘Howl’ and drew on artistic parallels from working with Conny Plank back in 1978 for ‘Systems Of Romance’…

After the prolific release schedule of 2011-2017, you’ve kept a low profile over the last few years, what have you been doing to keep you busy?

There’s always loads to do -Writing lots of songs and throwing them away. Editing ‘The Quiet Man’ book and digging stuff out of notebooks. Learning to play primitive guitar again. Remembering who I am and for what. Enjoying other people’s gigs. Relishing out-of-control feedback and the sheer joy of being inhabited by very loud, bone-shattering music.

Photo by Ed Fielding

One of the high profile tracks towards the end of that period was ‘Talk (Are You Listening To Me?)’ with Gary Numan in 2016, how did it all come together?

Well, Gary and I had been mentioning we ought to do something together – for about thirty years, but never got around to it. Then Steve (my manager and a friend of Gary) was in LA with him and played the Maths version of ‘Talk’. Gary liked it, Benge got in touch and they began to swap recordings. We mixed a version, and that was it. About time.

Your most recent five album releases have been ambient or instrumental soundtracks, so what inspired you to start working on songs again with ‘Howl’?

Decided to have a listen to everything I’d made – which is something I’ve never actually done before. Bit of a shock. Felt there were a couple of important things I hadn’t properly got to.

One was recording with proper violence and growl. What Lois and I used to call ‘Radge’. I also wanted to get to the sort of cruel glam I really liked – nothing pretty, but a dark, writhing glamour that The Velvets or Iggy touched on – a sort of torn sequins and shades thing. A bit damaged and very urban.

At the same time, I realised I’d not done another of the things I most wanted to – which is work with Robin Simon properly again. Rob came out of that glam into Punk thing as well – and he can play the most violent guitar you’ve ever heard – so the time was absolutely right.

In terms of writing and doing demos, had these songs been conceived with guitars in mind from the very off?

Yes.

Lyrically, what was moving you with these ‘Howl’ songs?

Well there’s plenty to howl about at the moment. We’re all living in particularly fast-moving and downright weird times. ‘The Dance’, ‘Howl’, ‘Last Time I Saw You’, ‘Everything Is Happening At The Same Time’, in fact all the songs, are kicked off by that.

Robin Simon performed with you at The Roundhouse and Troxy gigs in 2010-2011, so it has taken a few years for you both to work together on this record, you rate him highly don’t you?

He’s the best guitarist ever. Doesn’t play clichés, invented modern guitar – everyone imagines guitars always sounded like they do today but they certainly didn’t before Rob.

In my book, there are four top guitarists – Rob Simon first, along with John McGeoch, Steve Jones, and Fripp. Rob combined the ferocity of Punk with overdriven synths and he was the first to work in that way, using effects as an integral part of the sound. Fripp did some marvellous things later with Bowie. McGeoch worked with MAGAZINE and created their sound, then I met up with him in my studio when he, then Robert, were working with SIOUXSIE & THE BANSHEES. Steve Jones did the most massive blazing chop and drone ever recorded. All these guys have completely unique properties

But for me, Rob combines all of that with the kind of finesse and bite that Mick Ronson had. It’s a broad spectrum, but one thing Rob never loses sight of is the basic animal aggression- and I love that. Agility and power. Marvellous.

Is ‘Howl’ sonically a record perhaps you’ve been itching to make since you left Cologne in 1978 after recording ‘Systems Of Romance’?

Oh yes – exactly. But I needed to exorcise a few things first – KRAFTWERK, for one.

You’d worked with Robin since that time on ‘The Garden’, ‘The Golden Section’ and ‘In Mysterious Ways’ but on ‘Howl’, you’ve given him more of a free hand, are you working like you did when you were both in ULTRAVOX!?

Absolutely. A few things have changed though – we don’t rehearse live all together, and I do miss that – We might correct that next time. It gives certain feel to the songs that I like.

Sometimes Rob will give you three or four versions of a song each time he plays it. All good – and mostly better than you imagine. Sometimes so radical you catch your breath.

The thing is to try to absorb what he’s doing quickly enough to work with it. It’s the catching lightning in a bottle thing. You also have to get out of the way sometimes and concentrate on simply catching the take. You learn to live in the moment and the whole process becomes organic and alive – it’s real life actually happening.

You’ve often likened Benge to Conny Plank, so was there any moments of déjà vu when you, Robin and him were together in his countryside studio in Cornwall?

Many times – in fact most of the time. Surprises you in the same way. Never off balance. Always totally competent, but completely unpretentious. Always out for sonic adventure.

Benge even looks like Conny Plank – especially when he’s thinking. Same sort of mannerisms. I swear there’s a stray gene knocking about.

It’s a fantastic piece of luck to come across two guys like that in a single lifetime.

The manner of the guitar driven start on ‘My Ghost’ will be something of a surprise to some?

I do hope so.

While the album has a distinct guitar focus, the synths have not disappeared, like on the title song which has a screeching first two thirds but a more electronic final section; it’s a monster in a scary kind of way, what was on your mind when you conceived that one?

We were simply reacting to what Rob delivered. We’d all found a sound that seemed alive, so of course Rob was straight in there wrestling with it. Luckily Benge recorded all that immediately. It was a single take. Rob played it all over another song – Completely demolished it, so I had to write another around what he’d delivered.

I’d also been thinking about the Allen Ginsberg poem ‘Howl’ and what Rob did fitted. A sort of telepathic coincidence, because I hadn’t mentioned that at all. The song isn’t about the same thing, though.

The track is very reminiscent of that ‘Systems Of Romance’ period…

I’d been pondering how to revisit and update a few impressive things from the past, but in a completely modern context, and here it all was.

Hannah’s busy conspiring too, with her wipeout feedback – especially at the end, and Benge did that great squelch synth to break into the end section – plus some nice and mucky but spare bass and drums, to give everyone enough space.

In short – a series of accidents and coincidences that delivered something alive into the room. That’s how recording should be. Couldn’t sleep properly for days after.

So Hannah Peel is there with her violin on the ‘Howl’ album, evoking even more parallels with ‘Systems Of Romance’?

Always liked what an amped up violin or viola can do. I need chaos. Cale was always an inspiration in the Velvets – it’s another living beast to wrestle with, and Hannah loves to let it howl too. She’s absolutely full spectrum, is Hannah – conducts an orchestra and equally capable of conducting total demolition via feedback and distortion levels that can wreck a sound system. Remains calm throughout.

‘Everything Is Happening At The Same Time’ and ‘New York Times’ both have something of a Metadelic vibe about them?

That’s always there. A sort of punk psychedelia – it’s a cornerstone for me. Always emerges. Goes back to ‘When You Walk through Me’ from 1978, then into ‘No One Driving’ and so on.

Can’t ever forget Rob first playing ‘When You Walk Through Me,’ when I brought it in to rehearsals. He understood it instantly and completely. Fantastic playing. Especially that and ‘Maximum Acceleration’. Totally bloody Marvellous!

‘Tarzan & Jane Regained’ comes over a bit like U2 covering ‘Quiet Men’ with all that echo-locked harmonic guitar?

Well, although I like some of the things they’ve done in the past, we’ve no wish to sound like them – U2 certainly pinched some of our early sound in the 1970s. Particularly Rob’s approach. Mind you, they weren’t alone. I think we were the most copped unit on the planet around ’78-79.

In ‘The Dance, there’s some echoes of ‘Goodbye Horses’ by Q LAZZARUS which was on the soundtrack of ‘Silence Of The Lambs’, any coincidence?

Completely. I’ve got no memory of that. I’ll check it out.

‘Last Time I Saw You’ art rocks like hell…

Great – Rob and Benge were saying recently that’s the starting point for the next album. I’m on the case.

Where did the gorgeous cinematic ballad ‘Strange Beauty’ emerge from? Is that a soaring ARP Odyssey solo or a violin?

It sort of descended all at once, one night, as the best things tend to. No memory at all of writing it. Simply played it to some exterior direction – and there it was. Had to check it wasn’t someone else’s tune.

The solo is Hannah integrating with synth as she does so perfectly. She did a lot of that on the record, as well as the wild stuff. Widens everything out somehow. After she’s worked on a track, it sounds twice as big, and you’re not sure how she did it. Benge also did massive things with the drums and more synths. Rob did his seemingly simple but essential structural work. Everyone really went for that one. It went tidal.

Is the prospect of JOHN FOXX & THE MATHS performing again as a group ever a possibility in the future?

We’re being offered USA and Mexico at the moment so I guess we’ve got to get down and review things asap, but it’s like knitting fog. Penalty of working with top people – Everyone’s suddenly off with their own career – Hannah in Ireland and increasingly global, there’s an international queue for Benge in Cornwall, Rob nipping between LA and Yorkshire.

We all want to do it, because it’s a real buzz blasting it out together, and Rob seems to have galvanised the whole thing – as he always does. But it’s got to be absolutely right for everyone to think of clearing the table.


ELECTRICITYCLUB.CO.UK gives its sincerest thanks to John Foxx

Special thanks to Steve Malins at Random Management

‘Howl’ is released by Metamatic Records on 24th July 2020 as a CD and yellow vinyl LP, pre-order from https://johnfoxx.tmstor.es/

http://www.metamatic.com/

https://www.facebook.com/johnfoxxandthemaths/

https://twitter.com/foxxmetamedia

https://johnfoxx.bandcamp.com/

http://blog.thequietman.co.uk/


Text and Interview by Chi Ming Lai
21st March 2020, updated 16th April 2020

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