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@johnfoxxcollection

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A complete John Foxx vinyl discography.
Everything.
And related Wave/ synth /EBM /postpunk vinyl spinnings from my collection 👊🏻

POSTS STORIES REELS TAGGED

Welcome to my Collection - #mikesch_vinyl
Boy Harsher - Get Mean
blue vinyl 💙
VÖ: 18.09.2026
Label: Atlantic Records
Changre: Electropop, Cold Wave, Synth-Pop
Playing time: 12 Title, 40:00 Minutes
Singles: Jeans, Hard Beat, Tough Luck (When You Don’t Call), Faulty
✍️ written by: Jae Matthews, Augustus Muller
Produced by: Boy Harsher, Augustus Muller, Maurizio Baggio
Mixed by: Maurizio Baggio
Mastered by: Dale Becker
🎨 Design and artwork by: unknown
📷 Photography by: Jordan Hemingway

🔎 Jae Matthews und Augustus Muller führen Boy Harsher auch nach dem Ende ihrer romantischen Beziehung 2024 als musikalisches Duo weiter. Die persönliche Veränderung und die damit verbundenen Gefühle von Verlust und Neuanfang prägen den Hintergrund des Albums.
Zwei Menschen, eine gemeinsame musikalische Sprache – trotz persönlicher Veränderungen. 🖤 GET MEAN ist ihr erstes Studioalbum seit sieben Jahren und zugleich ihr Major-Label-Debüt bei Atlantic Records. Das bringt ihren Sound in einen größeren kommerziellen Rahmen.

Wie gefällt Dir das neue Album?
🫵 Hinterlasse gerne einen Kommentar!

Mehr Informationen: @boyharsher

#BoyHarsher #GetMean #JaeMatthews #AugustusMuller AtlanticRecords

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October 14th, 1977. Not even eight months after their debut, Ultravox! are back with a second album that sounds like a band trying to climb out of its own skin.

Asked whether they’d been post-punk before punk had finished speaking, John Foxx laughed: “We were ‘pre-punk’ before punk had started too!” Ha!-Ha!-Ha!, produced by the band with Steve Lillywhite, was the loud, abrasive proof. “It was a sonic attack, a proto-industrial music we were trying to make,” Foxx told theartsdesk.

Then comes the last track. “Hiroshima Mon Amour” runs on a Roland drum machine that Warren Cann remembers as very primitive: “No memory, no tempo display, no individual outputs, no programmability!” Foxx says they tried the song as a rock number too, but “it was better with a drum machine.” Trouser Press heard Billy Currie’s synthesizer “delineating the boundary between past and future.”

Nick Rhodes later said Foxx’s Ultravox “were the first to fuse punk with synthesizers.” Gary Numan told NME in 1979: “I’ll never make music as good as Ultravox.” And The Church covered the song in 1999.

The album didn’t chart, and it was the last one with guitarist Stevie Shears. The exclamation marks would soon go. The road that final track opened led straight to Systems of Romance.

📀 Island Records, 14 October 1977
🎙️ John Foxx – vocals
🎹 Billy Currie – keyboards, synthesizer, violin
🎸 Stevie Shears – guitar
🎸 Chris Cross – bass, vocals
🥁 Warren Cann – drums, vocals, rhythm machine
🎷 CC (Gloria Mundi) – saxophone
🎛️ Produced by Ultravox! and Steve Lillywhite

Today’s soundtrack: Ha!-Ha!-Ha!, front to back.

#Ultravox #JohnFoxx #HaHaHa #HiroshimaMonAmour #PostPunk NewWave Synthpop OTD 1977 IslandRecords

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On September 26, 1948, in Chorley, Lancashire, a coal miner’s son named Dennis Leigh was born. He’d spend years reinventing himself before settling on the stage name John Foxx. Today he turns 78.

Before Numan, before “synth-pop” had a name, there was Ultravox! — a band Foxx built out of a small ad in Melody Maker. He remembered exactly who found them: “All the people who had been attracted by punk but weren’t satisfied by it... Everyone else is doing guitar music – let’s bring a synthesiser in, you can make extreme noise with a synthesiser. I wanted all that noise, violence and art in the framework of songs.”

Foxx was proud of where the band came from: “Ultravox were actually all working class... We had no managers, PR, or anything at all behind us.” Drummer Warren Cann agreed: “We had more real creative anarchy pulsing in our veins than boatloads of critics’ faves.”

Three albums in, Foxx walked away to make Metamatic alone with two synths and a drum machine. He remembered it as pure joy: “It was me and Gareth locked in a studio having great fun discovering what those machines could do for the first time.” Released in 1980, it reached the UK Top 20 — AllMusic calls it “one of the peaks of the early-‘80s fascination with emotionless, Kraftwerk-inspired synth pop.” Years later he found an unlikely late-career partner in ambient composer Harold Budd: “I think Harold is a modern day Satie... the most significant and pivotal modern composer.” In 2009 he formed John Foxx and the Maths, and in 2014 received an honorary Doctorate of Philosophy from Edge Hill University.

Almost nobody bought those early Ultravox records — but the ones who did started bands. Gary Numan never hid it: “Ultravox were like the blueprint for what I was trying to do in the early years and John Foxx was my hero.” Duran Duran’s John Taylor put it best: “Foxx’s Ultravox! were the Velvet Underground of my generation.”

Happy 78th birthday, John Foxx.

#JohnFoxx #Ultravox #Metamatic #SynthPop #PostPunk NewWave OTD

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Happy 45th!! Released 9/25/81.

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FUN FACT: they spell out “HORSE” in Morse code throughout the song.

ANOTHER FUN FACT: Media Puzzle is a real horse— look it up 🐎

Talking to my dad about egg punk was fun! Honestly, this band was new to me as well— pretty sure I heard media puzzle last month on my local radio, and went into a dive of their work. From Lismore, Australia, this band has released 4 albums since 2023– BUSY BAND!

Who else are you hearing? What other bands would you think I’d be into based on this pick?

#postpunk #lofi #glamrock #brianeno #musichistory

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Happy 45th!! Released 8/21/81.

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a glorious compilation album sitting smack bang in the middle of #indieelectro and #electrogoth with some remixes leaning into #electroclash and more classic #goth territories as well.

dave clarke - charcoal eyes (a selection of remixes from amsterdam [541]

#daveclarke

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THROWBACK THURSDAY (1977) “Record of the Day” #ultravox

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Round-robin analog drum sample kit for Eurorack module Disting NT or similar. Available to my PAID Substack subscribers.
sleepwalk.substack.com #eurorack #vintage #synth #drummachine #musicproducers

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respirer (to breathe), lucky charm (porte bonheur), je suis pasée + unforgettable dirty.
some 12' HARD CORPS from my place / playlist / stock / collection

not forgotten and still brilliant english-french HARD CORPS!
apart they usually supported DM and NITZER they were really great
an open question: whether they would have reached their (well-deserved) peaks had regine fetet not stri.pp.ed off at almost every gig

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John Foxx (what a great name in itself): he started out in graphic design, then co-founded Ultravox; in the `80s, he ran a studio in London called „The Garden“ and produced small bands like Depeche Mode, Siouxsie And The Banshees and The Cure. He later sold the studio to Matt Johnson (The The). At 77, he is still active and now leans more toward neo-classical/ambient, but he`s still really good (2023 album „Wherever You Are“). The world somehow needs more John Foxxes. Enjoy.
#vinyl #newwavemusic #vinylcollection #vinyllover #vinyloftheday

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CARS is the theme of the new episode of Sounds, available now on all good podcast platforms. Time to rev up for more than 20 tracks from David Bowie, Rose Royce, The Beatles, Jonathan Richman, The Cars and many more. Links in bio.

Another highlight of the show is John Foxx with Burning Car, released in 1980. Foxx had previously been the lead singer in Ultravox, a new wave band strongly influenced by Bowie and Roxy Music. They released three fine albums on Island Records between 1976 and 1978, but commercial success eluded them and they were dropped by the label after the last of these, Systems Of Romance, which consisted largely of synthesiser-led electronic music. In retrospect, it has come to be seen as a major influence on the style of pop music that was to emerge in the following decade. However, growing tensions within the band prompted Foxx's departure in 1979, and he was replaced by Midge Ure.

Now a solo artist, Foxx continued to experiment with electronic music, but his songs pursued darker and more dystopian themes than the increasingly commercial and more romantic music now being released by his former
bandmates in Ultravox. His first album Metamatic was released in 1980 and several tracks - including Underpass and No One's Driving - were strongly influenced by the dystopian imagery of JG Ballard's urban nightmare novels Crash and Concrete Jungle.

In an interview with the website ElectricityClub, Foxx said of the late 70s and early 80s, "Without noticing, we found we were all living on diminishing islands, surrounded by an ocean of cars, dominating the environment completely, enabling new crimes and new situations, forcing new ways of living and changing everything... We had to try to live with all that. Ballard had understood and mapped this process and how it can all come tumbling down."

I'm playing the track Burning Car; it wasn't originally included on the Metamatic album but was released shortly afterwards. Foxx told website ChainDLK, "I wrote that song because every time I switched the television news on, there was film of a car on fire..."

#johnfoxx #burningcar #metamatic

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