Song Lists: John Foxx

john-foxx-song-lists-2015

Since childhood I have experienced what I later found to be called Synesthesia, a mixing or blurring of the senses. This is particularly common in arts people. In my case it manifests itself as hearing music as colour. Here is a rudimentary list of ‘JFX’ songs including a lot of his collaborative output. When I say colour I speak of base colour, so in the event a song shifts key and hence colour for bridge or chorus I’ll list it under its base or main colour for easier reference. Some of his oeuvre such as Cathedral Oceans, the work with Harold Budd and Tiny Colour Movies are difficult to list because they blur the boundaries between colour e.g. pink/green – always difficult – and noise. In other words they bring natural or textural sound to the forefront which thus offers an infusion of anything from birdsong and rainstorm to bleeps and industrial or spatial noise. You could also say the same of Metal Beat but the bleeps are minimal against a more routine song structure than his ambient offerings. Anyway, I hope this is both interesting and thought provoking. *please note I don’t list all songs just enough to give an overview. Also I didn’t have full access to some of the later work such as the recent London Overgrown – though I did like most of the samples I heard.

WHITE

UNDERPASS
A NEW KIND OF MAN
THIS CITY
THIS JUNGLE (chorus in mint green)
EUROPE AFTER THE RAIN (orange coming out of the chorus)
SYSTEMS OF ROMANCE (‘patterns of longing’ in orange, following the ‘systems..’ part is maroon. Worth noting; this track may not seem white because the guitar line offsets it)
LIKE A MIRACLE (intro in rose up till 25secs when the white becomes dominant for the verses, the chorus is a kaleidoscopic blur of rose into maroon then white and finally red for the rather nice ‘oh whoa..’ parts coming out of the chorus)
TWILIGHT’S LAST GLEAMING (intro and latter minute in orange)
A WOMAN ON A STAIRWAY (pink at around 2.20 then deep grey/violet at 2.50 then back to white on 2.59 before a final switch back to deep grey/violet at 3.47)
THIS SIDE OF PARADISE (shifts to rose in the middle and to yellow for the latter minute)
A FUNNY THING
NIGHTLIFE (a higher octave of white this time with a rose infusion – especially on the intro)
INVISIBLE WOMEN (a third white in a row from Pleasures of Electricity but this one re-employs the Underpass synth-line in its chorus which is a nice touch, the intro and outro also feature a darker more sinister synth in keeping with Underpass)
KURFURSTENDAMM
MAYBE TOMORROW
OVER THE MIRAGE
SUMMERLAND (this track is pretty run of the mill but for its extraordinary chorus, the subtle nuances of which result in a beautiful duplex of violet then mint green which continues through the synth motifs during the songs latter stages)
EVANGELINE (like Holywell Lane below this follows a circular motif; loosely speaking traversing white, orange and the palest hues of red) *as above it’s one of the ones I didn’t have full access to

CREAM

THROUGH SUMMER ROOMS (also some pink in its make up)
THE GOOD SHADOW
MODERNO

MINT GREEN

DANCE WITH ME
LUMEN DE LUMINE (switch to violet at 2mins)
TRAVEL (some odd shifts in its coda, but not worth going into specifics)
PHANTOM LOVER
SEPTEMBER TOWN
THE RIGHT PATH *incomplete access

YELLOW

PATER NOSTER (this is unusual and a bit complex in its make up; it may not seem yellow on a casual listen because the beat is at the forefront with the synth being used minimally. Also it’s alternating between yellow and mint green which becomes the dominant colour between 29-41secs before lapsing back to the yellow/green. The dramatic part at 57secs is in grey then white at 1.39 then back round to yellow/green for the finale – a mini opera indeed!)
ENTER THE ANGEL (middle in cream)
ENTER THE ANGEL II (brief switch to cream toward the end)
SPECTROSCOPE
THE PERFECT LINE
FROM A BRIGHTER PLACE

ORANGE

YOUR DRESS
THE LIFTING SKY
LOSE ALL SENSE OF TIME (some nice musical interplay in the middle – 2.07-2.37 – featuring a synth/piano triptych of pale yellow rose and deep pink then on 2.23 the Cocteau-esque guitar joins in to repeat the same colour cycle)
CITIES OF LIGHT
DRIVE

ORANGE/GREY

INFINITE IN ALL DIRECTIONS
SAILING ON SUNSHINE (bridge grey blue)

RED (varying shades)

A KIND OF WAVE
THROUGH MY SLEEPING
PHONE TAP (intro – about 25secs in maroon – from there it’s a very deep red, coupled with maroon, some white just after 3min mark but not much)

GREY BLUE

TOUCH AND GO (intro, middle and latter part from 3.41 in mint green, chorus in mid-blue)
CAMERA
UPTOWN/DOWNTOWN
AND THE WORLD GLIDES SIDEWAYS (first 2mins17secs are light blue, then a drop into another shade of blue before lifting into grey blue at around 2.45 for the vocal segment of the song)

LIGHT BLUE

MISSING PERSON (first few notes are a deep grey)
BRIGHT BLUE
ENDLESSLY
VAPOUR TRAILS (chorus ‘doors open..’ is a quick succession of maroon then cream)

MID BLUE (varying shades)

CITY AS MEMORY (the choral music can be tricky to discuss as it drifts in or veers into other hues such as light and bright blue during the first minute for example)
WHEN IT RAINS
WEATHER PATTERNS
NEVER LET ME GO
HOLYWELL LANE (a circular motif that starts in blue – there’s a brief dip to warm grey then to pink, then at around 1.03min it switches for another fleeting fling with warm grey before a swift swing into pink then 1.30 to grey back to pink and so on, at 2.12 it returns to the blue – c3.15 back to pink even shades of crimson then back to grey followed by pink/crimson then a final glance at grey before pink then back to blue at 4.20 for the finale)
KAIYAHURA
ALMOST THERE *incomplete access

DARK BLUE

TIDAL WAVE (verse seems like a shade of grey, the whole thing seems out of tune to me, not sure if that’s intentional as per the robotic futurism of Metamatic)
FUSION/FISSION (bit of a rollercoaster ride this one.. the bridge is in pale grey/orange, chorus olive, post chorus guitar break in warm red as far as I can tell, middle at 2.25-3.03 is dark blue/orange, chorus this time in pink which then leads to bright blue for the finale)
SHADOW MAN
THE PROJECTIONIST (some of the sounds in this don’t equate as music so I’ve tried to cut through the bleeps to get to the actual base which in my mind is a dark blue, it’s also very similar to some of Eno’s output)
BEFORE YOU DISAPPEAR

DARK BLUE/ORANGE

GHOSTS ON WATER (verse alternates between white and dark blue)
TORN SUNSET (this is another of those that blur somewhat but despite some evidence of yellow in Theo’s flute, most of it lay in the blue/orange couplet as above)
STRICTLY *didn’t have full access to this track so don’t know if it changes key/colour

DARK BLUE/YELLOW

YOU WERE THERE (if there is a dark blue that borders on black – this is it! So heavy it almost smothers the yellow which in turn is an off kilter hue not the warm yellow of say Enter the Angel)
NEURO VIDEO

LIGHT GREEN

NO-ONE DRIVING
030
SEX VIDEO (there’s some odd glitches in this which proffer up some differing hues but most of it is reliably in the green)

TEAL GREEN

A FALLING STAR (some mint green in the synth in the intro and chorus)
RARE-VIEW MIRROR (again this is bordering on mint green in places)

DARK GREEN

*green and pink run together through the colour spectrum e.g. mint green/pale pink, light green/pink and dark green/maroon – so differentiating them can be very difficult!

ULTRAMARINE (nice shifts to yellow in Robin Guthrie’s guitar)

PALE PINK

IF ONLY…
QUIET CITY
LONG LIGHT
BROKEN FURNITURE
SPIRAL OVERTURE
X-RAY VISION (latter part from 2.39 in deep pink)
A SECRET LIFE #2 (obviously a lot of this is industrial noise but the pulsing synth-line is pale pink while the piano tinkling is in mint green)

PINK

STARS ON FIRE (the intro and outro are more deep pink bordering on crimson)
HIDDEN ASSEMBLY (like other pieces in his catalogue and Holywell on the same album this drifts in and out of other keys/colours such as violet around 35secs/50secs and grey at 58secs)
ESTRELITTA (latter half alternates between pink and yellow which at 3.35 becomes the dominant colour through to its conclusion)
EMPIRE SKYLINE (the beginning of this sounds white until the tonal qualities creep into play around 50secs)

DEEP PINK

HERE WE GO

ROSE

SWIMMER I (difficult to place as it has a surprising range of colour in it as follows.. verses are apricot then maroon, chorus in rose, middle ‘shimmer, shatter’ part in orange)
SITTING AT THE EDGE OF THE WORLD (truly psychedelic this one; ’close my eyes’ bridge in pale yellow, ‘nose is broken’ and ‘na na na’ end parts in bright blue)
IN MYSTERIOUS WAYS (verse in pink, ‘and I find..’ middle part in cream)
AN OCEAN WE CAN BREATHE
LOOPED LOS ANGELES (seems to be a loop of rose, pink and deep pink)

CRIMSON

SOME WAY THROUGH ALL THE CITIES (another that hovers between hues, this time it’s deep pink, rose and crimson)
SPOKEN ROSES (alternates or rather drifts in and out of crimson and grey)

MAROON

BURNING CAR (verse – as in the synth washes – are in deep pink however the ‘it’s a burning car’ synth stabs are in grey)
WHEN I WAS A MAN AND YOU WERE A WOMAN (first ‘tides of the city’ in crimson, second take on that line in another shade of crimson more richer and deeper than the first, ‘man with no outline’ in apricot)
WALK AWAY (chorus in white)
CONCRETE, BULLETPROOF, INVISIBLE
FLIGHTPATH TEGEL

VIOLET

TIDES

PURPLE

SHATTERPROOF (because of the nature of the skeletal arrangement i.e. more effects and rhythm than melody it takes a while to spot but the purple is more prevalent in the chorus)
EMPTY AVENUES *incomplete access to track

GREY (varying shades)

METAL BEAT
SUNSET RISING
MOMENTARY ARCHITECTURE
CURTAINS BLOWING
YOUR KISSES BURN V2
WATCHING A BUILDING ON FIRE
INTERPLAY

GREY/BEIGE

MIRRORBALL
A STRAY BALLARDIAN NEURONE

GREY/OLIVE LIGHT

NEVER BEEN HERE BEFORE (this is a first, not come across this colour combo before)

GREY/ROSE

PLAZA (rose more prominent in the verse, ’down escalators..’ chorus in pale grey)

GREY/OLIVE

CITY OF ENDLESS STAIRWAYS

BROWN/OLIVE

BLURRED GIRL (intro and middle in pink)

BLACK

CRASH
THE FORBIDDEN EXPERIMENT

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