Re-vitalized and refreshed, the one-time Ultravox stalwart and synthesizer journeyman, John Foxx, seeks to re-stamp his authority as an influential pioneer of electronica. Pitched with the modern-day electronic composer and old synth collector, Ben Edwards – whose own Twenty Systems LP was given high praise by none other then Eno – he wallows in retro-Moog triggered rhythmic loops and brooding vaporous, oscillating melodies, plucked from an array of imbued solid influences that include Cluster, Bowie, Eno, Cabaret Voltaire and Japan.
The slightly ambiguous title is a reference to the methodology, or rather unscripted process, behind this collection of sophisticated composed poppy electro: that being the chance “interplay”; the unplanned fluctuations which appear in even the most calculated of programming. Working with a bank of iconic analogue and patchbay equipment, Foxx and his studio foil pay a certain homage whilst invigorating the passages of time with some contemporary oomph!
One of the first things that strikes you, is that this album is highly accessible, as everyone of the tracks features hooks, riffs and memorable lyrics. Foxx’s vocal style can be either creepily deadpan, as in evidence on the venomous sneering Suicide-esque Catwalk, or it reaches sardonically salacious heights on the Bauhaus slinky espionage affair, Watching A Building On Fire – Mira Aroyo of Ladytron supplies the breathless sexy backing vocals and synth motif.
At times this record transcends into parody, with signs of tongue-in-cheek phrased wit or knowing nods to the electronic music fraternity. The opening Shatterproof salvo of crack-whipping drum pads, Kraftwerk monotonous driving synth, and The Normal-esque dirge, is fatuously accompanied by a inverted megaphone, mad scientist vocal. And that’s not the half of it; The Running Man sounds like Bambaataa and Bowie playing as a duo in a Berlin gay club, lashing out altruistic platitudes, “I am the running man, no-one can run beside me”. There are some quite elegiac moments too, such as the moody OMD redolent Summerland – which breaks out into a fit of Vangelis proto-disco soundtrack joy – and the Numan pulsing star-fighter, electro-clash, Destination.
John Foxx may have continued to plough on regardless through the last two decades, collaborating or releasing his own solo material; but it’s this latest wheeze that will hopefully regain his seat at the top table as its a mighty fine LP.
21/3/2011
www.myspace.com/foxxmetamatic
[Rating:4]
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