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My Lost City

John Foxx Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
Price: CDN$ 25.89 & FREE Shipping. Details
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Product Description

2010 collection of unreleased instrumentals from the former Ultravox leader and Synthpop pioneer. Most of the material on the album was recorded at Foxx's Shoreditch studio, The Garden, between 1981-85. "I hadn't listened to the recordings that are being released as the My Lost City album since they were made, over 20 years ago,' says Foxx. 'When I played them I was struck by the way they evoke a time and a place - and how I'd been unaware of this when they were made. Then they seemed like fragments, unfinished and unsatisfying. A stop on the way to somewhere else." 11 tracks. Metamatic.

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1 of 1 people found the following review helpful
5.0 out of 5 stars Haunting and Hymnal: A Rare & Unusual Gem May 15 2012
By Richard S. Warner TOP 50 REVIEWER
Format:Audio CD
John Foxx's "My Lost City" is a series of 11 impressions of moods and layers of memory associated with the strange, exotic locations Foxx has occupied at various times of his life. The stories behind some of these locations, mostly in the buried, forgotten and haunted corners of London, are as strange as the locations themselves. Foxx's gift for creating truly elegant moods associated with his very visual and emotion-rich memories is striking, making "My Lost City" a masterpiece in the 'ambient' genre. Although a lot of this music is very quiet and serene it is not what I would call 'new age' a fate often befalling artists like Harold Budd, Vangelis and Klaus Schulze.

Foxx's electronics and keyboards are strongly melodic and his music takes on a rich resonance of the Church of England, with it's ancient hymns and latin verses. You can almost smell sacrificial incense wafting out of your speakers. Foxx's voice too, especially on beautiful pieces like "Barbican Brakhage" and "Hawksmoor Orbital" is entirely 'religious' in tone and singing style. I would not in the least be surprised that he, himself had attended the Barbican and been trained in his youth in England's sacred music. His keys on "Hawksmoor" and the final piece "Scene 27 - Intro to the Voice Behind the Wallpaper, Trellick Tower 3am", electronic as they are, strongly and clearly evoke cathedral pipe organs. Yet this is very secular art music. The very personal ghosts of his past nevertheless bring these wonderful moods out with a beauty that really gets to the heart. There is a kind of sadness to this music that is beautiful and deeply touching, not morose or brooding. It's as if each of his pieces resonates with the evanescence of the things of this world.
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