Metamatic
Metamatic is the debut solo album by John Foxx, released in 1980. It was his first solo project following his split with Ultravox the previous year. A departure from the mix of synthesizers and conventional rock instrumentation on that band's work, Metamatic was purely electronic in sound.[8] The name 'Metamatic' comes from a painting machine by kinetic artist Jean Tinguely, first exhibited at the Paris Biennial in 1959.[9] The album peaked at #18 on the UK Albums Chart.
For the 1950s artworks, see Métamatic.Production and style[edit]
Metamatic was recorded at Pathway Studios, a small eight-track studio in Islington, and was engineered by Gareth Jones. Foxx's electronic equipment included an ARP Odyssey, an Elka 'String Machine' and a Roland CR-78 drum machine. Several of the synth parts were played by John Wesley-Barker.
The album was heavily influenced by the writings of J. G. Ballard.[10] Six of the tracks referenced automobiles or motorways, most obviously "Underpass" and "No-One Driving". (Foxx re-worked the former track as "Overpass" on the live Subterranean Omnidelic Exotour in 1998).[11] The song "He's a Liquid" was influenced by a still from a Japanese horror film depicting a suit draped across a chair in such a way as to suggest that the wearer had liquified; Foxx's lyrics also alluded to the 'fluidity' of human relationships. The final track, "Touch and Go", included psychedelic aspects.
Although Foxx had performed "He's a Liquid" and "Touch and Go" live with Ultravox before leaving the band in 1979, the band was not credited for them on Metamatic.[12] When Ultravox adapted the tune from "Touch and Go" for the song "Mr. X" on Vienna (1980), their first album following Foxx's departure, Foxx was not credited.
Critical reception[edit]
Trouser Press wrote: "Metamatic is Foxx’s first venture alone into the world of synthesizers (...) In emulation of his own work and Conny Plank’s production on Ultravox’s Systems of Romance, Foxx (aided by another synthesist and a bassist) finds the perfect counterpart for his themes of alienation and dislocation in sterile, minimalist electronic sounds. His vocals are oddly distant, like echoes, but the record has an honesty and directness that are quite affecting."[15]
In a Record Collector review of the 2007 reissue Ian Shirley concluded: "To be frank, however, Metamatic has not worn well. Although the analogue synth textures work well on the singles and tracks such as Plaza, Metal Beat and Touch & Go, the rhythms of the drum machines and overall sound of A New Kind Of Man and Tidal Wave are very dated. Considering how adventurous and warm the Human League’s Reproduction and Travelogue from the same period are, Metamatic is the sound of musical austerity."[16]
The 2018 reissue received a positive review by Kieron Tyler: "Metamatic feels as much about melody as the then-current musical tools. “He’s a Liquid” and “Touch and Go” had been played live by Ultravox so, clearly, Foxx was honing some of the album’s songs before they were recorded; there was pre-planning. There’s also a timelessness, born from to the combination of Foxx’s chops as a songwriter and the use of pre-digital synths which had to be configured manually. The sounds and arrangements Foxx came up with were his own. The only track which has dated is “Metal Beat” due to its borrowings from elements of Kraftwerk's “Showroom Dummies” and “The Robots”. Overall, Metamatic is poppy, romantic, and refracts the aura of concrete-filled urban environments and the power they exert."[17]
Keyboards used on the album include the Minimoog, ARP Odyssey, clavinet, Elka Rhapsody 610, piano, Farfisa string synth, and Hammond organ.