RECOLLECTION IN TRANQUILITY
A CONVERSATION WITH JOHN FOXX
John Foxx is a multi-talented artist. Over the years, Foxx has been a singer, musician, artist, photographer, graphic designer, writer, teacher and lecturer. Born Dennis Leigh, Foxx initially made a name for himself when a band he formed in 1973, Tiger Lily, released their debut (and only) single “Ain’t Misbehavin’” in 1975. Foxx and Chris Allen (later known as Chris Cross), Warren Cann, Stevie Shears and Billy Currie rebranded themselves as Ultravox. Foxx went on to record three albums as the lead vocalist and keyboardist/guitarist Foxx left Ultravox in 1979 for a solo career. He released his solo debut album in 1980 (Metamatic) and had several hit singles. Since then he has released 18 solo studio albums, 11 albums with Louis Gordon, seven with his band The Maths and numerous live albums. He has established himself as one of the most original and enduring artists over the past 45 years. And in some ways, it feels like he is just getting started. I had the chance to ask him about his most recent release, The Arcades Project, and his new direction.
“You know, I was surprised to realise I hadn’t actually made a solo piano album, even after recording three with Harold Budd and often using piano in other recordings, such as the one with Robin Guthrie. I play piano at home every day and have always written pieces for my own pleasure. So I thought it was about time to release some of these.”
Foxx has acknowledged that both albums are very different, both in theme and creation. They were also not quick projects to record. “Both albums have been a long time in the making, but the recording itself was fairly quick. Avenham is a look back at a time in life when everything seems magical and new. Something we all experience, I hope. It was prompted by a visit to a place I knew when I was around 16/17 years old. That idea of a ‘return to a place of remembered beauty.’
THE ARCADES PROJECT ALBUM REVIEW
“The Arcades Project is also very loosely connected to that. I lived in France for a while and became intrigued by the arcades in Paris especially after reading Walter Benjamin’s book, which was legendary when I was at art school, but not available for many years in print in this country. It’s one of those books which changes the way you see things. A book of no return.”
Most artists would be concerned about releasing two albums so closely together. Foxx did not seem to be concerned about competing with himself. “Oh – no real competition. I think they’re both pretty complementary. Avenham is a more low key, personal, lush and ethereal album. Arcades is perhaps a little more formal and mysterious, I guess. But they seem to both operate in similar ways. Both are also the result of improvisation – Arcades was gathered over quite a long period and then refined, though I never play any track the same way twice. So each track had to be played in a single take. While Avenham was unprepared improvisation, but layered, and each layer is usually a first take.”
Although both albums are instrumental, there is something deeply personal with each album. Foxx does not see the albums as personal but rather domestic. “They’re both very domestic – music made from home – and quite natural evolutions of sensations and ideas gathered over a long period – often decades. I’m not too impressed by the confessional sort of music, I do feel a certain dignity needs to be retained. Equally, certain kinds of music can convey a sort of universal intimacy – at best, the more personal music is, the more universal it becomes.”
And both albums are very different from the album he released in 2020 with The Maths, Howl. Howl was closer to the punk sounds of the first three Ultravox albums, and had very little to do with instrumental ambient albums. “At various times, I seem to need both ends of the spectrum – a good blast of ear-splitting aggression and then tranquil, spacious, luminous music. The band – Benge, Rob Simon and Hannah Peel – supply the aggression and power. It’s all extreme electrical and very galvanising. When I’m at home I tend to go to the piano to come down from all that. It’s always been my favourite instrument. So complex and beautiful a sound. At the moment, the piano seems to be winning.”
AVENHAM ALBUM REVIEW
But music is not Foxx’s only talent. As noted, he studied as an artist and had a very successful career in graphic design. “Well, I was very lucky to have spent my early years at an art school where everyone seemed exceptionally bright. Through arguing, joking, drinking, imitating and stealing ideas from them all, I eventually managed to sift out certain useful principles – a few ways of thinking and understanding, that can be applied to making any form of art.”
“By the way, Avenham was where the art school was situated, a very dignified neo-classical building in the oldest part of the town, overlooking a mile long colonnade of trees and a beautiful park descending to the river. It’s got an air of neglected dignity — a unique and oddly mysterious place. The experience of being there left me with a desire to come up to the mark the architecture indicated. I certainly wouldn’t have felt the same way in a modern functional building. It’s an illustration of how architecture can influence behaviour.”
As for his thoughts on music in general, “I do believe the most important aspect of music is its marvellous ability to allow everyone to invest their own personal memories and associations into it – to make it their own. In very general terms, though – what I hope for is a sort of ‘recollection in tranquility’, the long view, a sense of passing time and change, but around certain things that will always stay the same.”
And as noted in the above, in many ways, it feels like Foxx is just beginning. He keeps himself very busy and continues to experiment. “Oh, there’s plenty going on. The Maths have another album in prep. I’ve also just done some recording with Ade Fenton, who records and produces Gary Numan. That was a good experience and I hope we’ll do more. I’m beginning to feel I could really do with another couple of lifetimes. There’s so much more to explore, only scratched the surface so far.”
And this includes live shows. Is there any chance for Foxx to play some dates in North America, especially Canada? “Ah – you never know. It’s an ongoing discussion.”
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