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John Foxx

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John Foxx is a mysterious and elegant figure in England's rock history. There are some details about him that have slipped through. He appeared on three LPs in the 1970s and four in the 1980s. He let it be known, in the liner notes the he wrote which accompany the Assembly compilation CD, released on Virgin Records, that The Shadows were an influence as well The Swimmer, Dada and Europop.

Art College And Tiger Lily

Dennis Leigh began to call himself John Foxx at some point very early on right before the first Ultravox! record was released.

Originally from Chorley, Lancashire, Leigh is said to have always been an artist who also possessed an above average number of brain cells. He'd read the Futurist Manifesto by age 9. There is no biodata as per what year he was actually born but it would make sense that it was in the fifties.

On a scholarship to attend the Royal College of Art, in Central London, Leigh met lots of people, including well-knowns, like Peter Blake, pop artist who designed the cover of Sgt. Pepper's Lonely Hearts Club Band by The Beatles and Francis Bacon, a painter in a genre all his own, a maker of brutal and surreal images. These meetings were undoubtedly influential or reaffirming because Foxx art, whether it's in melody, lyrics, singing or graphic design contains similar visions and emotional charges.

While at artschool, Leigh experimented with tape recorders and synthesizers, as some people do at artschool. He loved his new surroundings and met very energetic, inventive, intelligent and telepathic musicians, including bassist Chris Allen (later Chris St. John and finally Chris Cross) as well as drummer Warren Cann, an ex-pat from Vancouver, Canada and Billy Currie, on bowed strings and keys. Leigh, accompanying himself on acoustic guitar, played these people his song ideas and in 1973 formed what was eventually to be called Tiger Lily. They woodshedded many nights of the week, thanks to connections Leigh made at the RAC and Leigh, wiry and wild-eyed, attended classes, sporadically, during the days. He did eventually graduate. The band also secured a rehearsal space at a friend's mannequin factory, called Moderno, also in Central London. Many photographs from this era exist.

One Tiger Lily 45 rpm was released on 14 March 1974, the A-side of which was a commissioned cover of the famous Fats Waller track Ain't Misbehavin'. It was to be used in a soft porn movie of the same name. According to Warren, the money earned herein was used to buy Billy a proper keyboard as his, struggling valiantly, had finally died. Melody Maker reviewed a '74 show at the London Marquee and praised the "overall atmosphere," whilst pointing out their rather predictable "apocolyptic groove." This kind of praise and criticism has followed ever since.

Ultravox!

During this time, of post-Psychedlic Underground, post-Hippie peace signs, and post-Ziggy Stardust Glam, this time of in-between, there was Pub Rock going on at one extreme and Gary Glitter camp at the other. At times, Foxx has remembered these scenes had nice atmospheres and at other times he's said that he remembers them as awful, London being, initially, rather a disappointment for such typically high expectations of a recent transplant. When looked at, objectively, it's likely that these are natural continuations of the tradition that English Music Hall came from. Either way, there was a desire for the something else besides these among lots of the youths roaming around, getting into trouble and forming bands.

Punk came into its own as people in New York, London and soon other cities around the world turned boredom and apathy into action. During its formative years, it was important that no one imitate anyone else. In an interview with the BBC, Foxx later admitted he'd had an opportunity to join an early version of what became The Clash, as the vocalist, when they were still the pre-Joe Strummer ever-revolving band called London SS, an interesting name considering The Clash became associated with a kind of Marxist stance. Either way, the London SS also included future members of PiL and The Damned.

Jon Savage, in his book England's Dreaming, wrote that Ultravox! is included in the history of punk rock only because of Foxx's enthusiasm for it. Despite Savage giving them only about 1 sentence in his lengthy book, Ultravox! were there at the beginning of punk, one of its originators, in fact. They were experimenters and punk became a regimented affair.

Eventually, after several names including Fire Of London, The Zips and even The Damned, Tiger Lily transformed into Ultravox!, a tangentially Punk/Glam/Electronic Rock band. Other labels that have been applied are Robot Rock and Art Rock. Its influences were apparent from the start, like Roxy Music, The New York Dolls, David Bowie, Mott The Hoople, some Velvet Underground and some Syd Barrett-era Pink Floyd. As one of their earlier names, London Soundtrack, implies, they absorbed everything around them, including Disco, Reggae and Prog musics in their earliest songs, some of which made it on their first self-titled record. With just the slightest traces of the androgynous early 70s and the punk take on fetish and like Prince in the early eighties, they appeared on stage and in photographs wearing dog collars, mascara, plastic macs, high-heeled boots and self-administered haircuts. The overall effect was slightly unsettling, a little bit in the past, the present and the future.

There were elements that set them apart from their contemporaries, not the least of which were Foxx's lyrics and vocal delivery and Billy Currie's violin and keyboard playing.

Currie, originally from Yorkshire, brought with him both Classical and Improvisational backgrounds. Ritual Theatre consisted of four musicians and four dancers. Included among the musicians were Currie and Henry Cow's Lindsay Cooper. One of the performers was named Ed Francis, later of Eddi & Sunshine and Gloria Mundi. After R.T.'s demise, Francis persuaded Currie to move back down to London, because of Tiger Lily, for whom he'd been appearing with, performing Pantomime as he'd done earlier with Ritual Theatre.

The Foxx-era of this band lasted six years. Signed to Island Records, they made three very interesting and exciting LPs, released in 1977 and 1978. The first Ultravox! single, Dangerous Rhythm/My Sex, was released 19 January 1977. Album and single were credited as produced by Ultravox!, Brian Eno and Steve Lillywhite.

On the back cover of his diary, 1995, there's a long list of things Eno calls himself and one of them is a drifting clarifier, something he was first for Ultravox!. He's best known for this role in relation to Devo, Talking Heads and finally, with real financial rewards, to U2.

In 1977, Ultravox! released two LPs, the self-titled Ultravox! and Ha!-Ha!-Ha!.

Ultravox

Like the German so-called Krautrock band Neu!, Ultravox!'s identity was partly linked to its exclaimation point. By the third album, Systems Of Romance, released on 9 December 1978, dropped was the exclaimation point, for whatever reason, along with most connections to the sounds, visuals and attitudes associated with punk. Also missing was their first guitarist, the loud and versatile Stevie Shears, replaced by Robin Simon, from a band called Neo (not to be confused with Neu!). On this release, the most streamlined of the three, the lyrics and music are at their most visual and emotional, exploring interesting psychological states with the synthesizer taking on an expanded role.

John Foxx bought a suit at an Oxfam shop at some point and he moved about, as unrecognized as a pickpocket, living a secret life. The luxury of this anonymity brought about song and lyrical ideas that found their way onto Systems Of Romance and every solo Foxx release after that. He began writing a kind of dream diary, some of which was published in the fanzine in the early 80s.

Slow Motion and I Can't Stay Long open the record and the first flows into the second, like one long track. Both float above the clouds and under the water yet pulse all throught the organs of the body. In When You Walk Thru Me, the drum pattern is the same as The Beatles' Tomorrow Never Knows. Psychedelia was always one thread in the tapestry of Ultravox's music and it recurs often in solo Foxx music after this. Some Of Them is a burst of psyche punk that recalls some of the Ha!-Ha!-Ha! era and has a near prog break that includes lyrics mentioning evergreens. Dislocation is another example of how innovative this band was -- very minimal, strange and transcendent it is -- leaping into a future that never really manifested. The lyrics, continuing the Lonely Hunter theme, mention Eau de Cologne.

How could all of this end? The band were at their peak, the tensions and interactions of these people, in the form of the product they produced, was about to get big.

A tour of the United States, in early 1979 was very successful in terms of crowd enthusiasm and ticket sales, but it had no financial help from a record label as the band had been dropped from Island's roster. Simon decided to stay on in New York and Foxx made plans to go solo upon returning to England.

Possibly not on the best of terms with his band and possibly excited by the possibilities of leaving the gang and choosing to go D.I.Y., Foxx gave up the rock band construct, plotted a new career and an independent label. He'd thought of possibly forming another band, completely free of electric guitars in an unabashedly new direction or even changing his name again. In the end, Foxx and Ultravox decided to co-exist. This was around April, '79. In the Ultravox camp, Foxx was replaced as lead vocalist by James Midge Ure, of The Rich Kids, Slik and Thin Lizzy. Midge, who was often photographed sporting a mustache, represented a new direction for that band. This next incarnation of Ultravox built on some of the ideas explored on the final Foxx-era record Systems Of Romance to huge worldwide success with Vienna in 1980. With Currie at the helm, musically, more releases, radio hits, arenas and Live Aid followed. The Ure-fronted version of Ultravox lasted another six years, more or less.

When he was having hits in Britain, the Electropop star Gary Numan made it no secret that it was the Foxx-era Ultravox that was his major influence.

Solo

It has been said Metamatic is the first proper Electropop record. It is just as likely that Gary Numan's The Pleasure Principle, also released in 1980, deserves such a classification. Kraftwerk's Trans-Europe Express, from 1977 is also, most definitely, Electropop. However, Electropop will be forever equally tied to The Buggles and their The Age Of Plastic.

On the back of the 1979 LP, Movies, from Can's Holger Czukay, Foxx is thanked for encouragement to keep on.

In terms of 1980s UK Pop Culture, Foxx had an Electropop record, a New Romantic record and a New Wave record.

Signed to Virgin Records, Foxx achieved chart success with his first solo single, Underpass. This is a territory introduced by Throbbing Gristle's Hamburger Lady and United. All three of these achieved chart success in the UK, got much attention on college radio in the U.S. and yet, as catchy as these are, they really sidestep a lot of other pop requirements. Prior to the marginalization via the intensive categorization and commercialization of the eighties, a kind of cult Noir-style pop thrived. This style did continue, in new forms, swimming underground and resurfacing with younger generations.

The collective Noir pop statement of 1980 could be said to span 1977-1985, and could include, but not be limited to, Numan's The Pleasure Principle, Foxx's Metamatic, Bill Nelson's Quit Dreaming And Get On The Beam, Yukihiro Takahashi's Neuromantic, Devo's Duty Now For The Future, Orchestral Manoeuvres in the Dark's Orchestral Manoeuvres in the Dark, Yello's Claro Que Si, Cluster's Curiosum, Judy Nylon's Pal Judy, Haruomi Hosono's Philharmony,Cabaret Voltaire's Red Mecca, Laurie Anderson's Big Science, Cowboys International's Original Sin, Der Plan's Geri Reig, YMO's BGM,Solid State Survivor and Technodelic, Throbbing Gristle's 20 Jazz Funk Greats, Nico& The Faction's Camera Obscura, The Plastic's Welcome Plastics, The Residents's Commercial Album, Riuchi Sakamoto's B-2 Unit, Siouxsie & The Banshees's Kaleidoscope, PiL's The Flowers Of Romance, Tuxedo Moon's Half Mute, Japan's Gentlemen Take Polaroids,Talking Heads' Fear Of Music, The Normal's Warm Leatherette, Lene Lovich's Stateless, Thomas Leer & Robert Rental's The Bridge, The Human League's Reproduction, Snakefinger's Greener Postures, Young Marble Giant's Colossal Youth and Joy Division's Unknown Pleasures.

Quite early on, the eighties' pop music pulled firmly away from this noir direction it began in. Big, bright lights were proudly switched on, with the music made by people like Trevor Horn and Geoff Downes with The Buggles and the hit Video Killed The Radio Star. The promotional video for this song was also the first ever broadcast on MTV. For this reason it's an Electropop anthem for the age of music videos. Additionally, it is supposedly Ultravox's Warren Cann who played drums on Radio Star. Also from that same circle of people that came out of Bruce Wooley & The Camera Club, was Thomas Dolby Robertson with his Golden Age Of Wireless record. The Ure-fronted Ultravox was particularly grandiose and anthemic with Vienna.

Anyway, in 1959, a beautifully strange and noisy painting machine called Metamatic N°17, made by kinetic artist Jean Tinguely, was exhibited at the first Paris Biennial. Released on Metal Beat, Metamatic, appeared in record shops on January 17, 1980. It's Foxx playing most of the synthesizers and "rhythm boxes," as they're listed on the jacket. The label is named after one of the songs from the album (or is it the other way around?), which was also released as a single. Despite the fact that, in interviews, he expressed enthusiasm for his label including others' releases along with his own, Metal Beat lasted from 1980 to 1985 with Foxx as its only artist, or "solo pilot" as he put it to his fans. Though musically far apart, both Foxx and Ultravox left the pop world of the eighties around the middle of that decade.

Glimmer, a Metamatic-era single B-side, may remind the fan of electronic music of Jean Michel Jarre, his 1976 album Oxygene and his 1978 album Equinoxe. It's quiet and very moving, if played on a harpsichord would sound baroque, in the same way that the Roedelius' track Die Andere Blume, from the Lustwandel album sounds baroque. "Glimmer" and related words pertaining to light is found sometimes found in the lyrics and, indeed, the Metamatic cover art and the lighting favored in the photographs in the related singles all present a common theme.

Like his music, Foxx's images are often rendered using the Collage, or Montage technique. Foxx images are in a category that also includes Throbbing Gristle and Industrial Records, Cluster (Dieter Moebius and Hans-Joachim Roedelius together, separate or with collaborators) and others on Sky Records, Factory Records, Creation Records, David Sylvian, Can and Spoon Records, Neu!, Yellow Magic Orchestra, Jandek and Corwood Industries, The Residents and Ralph Records, Hipgnosis (which included future Throbbing Gristle member Peter Christopherson), Talking Heads, Bryan Ferry and Roxy Music as well as Brian Eno. In terms of audio and visual presented as an intentionally cohesive statement these are of the same relevance as Martin Denny and all that is Exotica, The Velvet Underground and Andy Warhol as well as The Beatles.

Metamatic looks a like a Bill Brandt photograph, Jandek cover or a Rene Magritte painting. Foxx appears to come from a future time or a time from forty years before. There is a sense of Science Fiction here. It is all and none of these things. Coincidentally, Gary Numan has said that the cover of his The Pleasure Principle was a tribute to Magritte's painting Le Principe Du Plaisir, but no-one noticed.

Embraced by the New Romantics was Foxx's next LP, The Garden, released 25 September, 1981. The New Romantic movement was spearheaded by fashion-conscious DJ, the former punk rocker turned entrepreneur named Steve Strange and his Club For Heroes. Strange also had a band, Visage, which is where Billy Currie met Midge Ure. Coming out of the club scenes in London and other urban centers of the UK, in the late 1970s, the New Romantics declared neither Glam nor Disco were dead. Like the Psychedelic, Glam and Disco scenes, the New Romantic's eighties statement involved tons of attitude, loud and atmospheric music, a very visual wardrobe, bi-sexual tendencies and a drug-friendly attitude toward life. Because of their clothing, hair and music, people like Foxx, Ultravox and the members of Japan were included in the NR scene, by default. The very successful Soft Cell and Culture Club also began in the NR era.

Foxx set up his own recording studio, called The Garden, housed in an artist's collective, surrounded by sculptors, painters and film makers.

In 1983, Foxx provided the soundtrack for Michelangelo Antonioni's film Identification Of A Woman (Identificazione Di Una Donna). This was a good choice by Antonioni, who had Pink Floyd provide him a soundtrack over ten years before. The images and mood of this movie are very Foxx. A musical reference point here could be Tangerine Dream's Phaedra.

Also, in September of that same year, The Golden Section LP was released.

Not really belonging to an eighties category, the LP In Mysterious Ways was released in October of 1985.

Foxx produced, co-wrote and played on Pressure Points, by Anne Clark, which appeared in 1985.

After In Mysterious Ways, Foxx gave up a public career in pop music. He sold his recording studio and returned to his earlier career as a graphic designer and artist, working under his original name of Dennis Leigh. For examples, see the book covers of Salman Rushdie's The Moor's Last Sigh and Jeanette Winterson's Sexing The Cherry. He also began experimenting in Ambient, working on a project called Cathedral Oceans.

Nation 12

During his sabbatical from the public eye, Foxx found inspiration in the underground House and Acid music scenes in Detroit and London, said to have been releasing white label vinyl anonymously. He also worked with pioneers in this field, the slightly above ground LFO and made their first music video.

These scenes brought pure electronic beats and music where bands, stars and even melody weren't always necessary. The pulsing rhythms were updated but the vocabulary was familiar, Foxx writes in the sleeve notes for his Assemblage best-of release of the mid-nineties for Virgin. Obviously, this way of composing and releasing music inspired lots of creative energy for many people.

In the very early 1990s, as Nation 12, Foxx released two snazzy 12" singles, (Remember and Electrofear). The first was a collaboration with Tim Simenon, who is best known for his Bomb The Bass project. These became real sought-after items for the fans, especially those outside the UK and Europe, some of whom read about Nation 12 in Q, in a Where Are They Now? column.

Louis Gordon

On March 24, 1995 John Foxx released a CD called Shifting City, a collaboration with Manchester's Louis Gordon, which was categorized by many as an updated stylistic return to Metamatic. This is true but it also includes what he learned from 1990s underground dance music, along with the psychedelic pop that's been there since at least When You Walk Through Me. Also, on the same day, the first volume of Cathedral Oceans was finally released.

Cathedral Oceans is really a return to Foxx's Catholic youth and his love of the cathedrals of England, the UK and Europe. One can find the roots of Cathedral Oceans in traditional evensong, Gregorian Chant, the Ambient Series of records by Brian Eno, Harold Budd, Roedelius, My Sex from the first self-titled Ultravox! record, Hiroshima Mon Amour from Ha!-Ha!-Ha! as well as Just For A Moment from Systems Of Romance. There's also the 1981 release The Garden (and its accompanying full-color book of pre-Photoshop photo montages, called Church), the soundtrack to aforementioned Identificazione Di Una Donna, the Metamatic-era Glimmer along with Morning Glory from In Mysterious Ways and the In Mysterious Ways-era Enter The Angel II and B-side Lumen De Lumine.

In the 1990s and (especially) after the turn of the century, the kind of hybridization and montage that Foxx thrived in became very much the order of the day in popular culture. Like much younger generations of people making new forms of electronic pop, such as Aphex Twin, Ladytron or Goldfrapp, Foxx ransacked his and others' pasts. Buoyed undoubtedly by exciting experimentors and barrier breakers, particularly Bjork and PJ Harvey, digital, analogue, low and high Art, traditional and popular, sacred and profane all compliment and enhance one another...and without shame.

In 2000, the Porcupine Tree release called Lightbulb Sun came out. The cover art was created by John Foxx.

The return of Foxx was well received by fans, and he and Louis Gordon continued to work together, almost as a single unit, as if of one mind, performing live and releasing material, like The Pleasures Of Electricity, released 21 January, 2000. Automobile is a surprise with a one-word chorus using the low-pitched scary robot voice. Invisible Women revisits Underpass as though disrupting and reconfiguring that old film or that old dream and giving it a new context.

Another Foxx/Gordon collab that's particularly inspiring is their Crash And Burn available on vinyl and CD, released 2 December, 2002, on Metamatic Records. "We are living in terminally splintered times / We are witnessing particularly vicious cimes," the title track's lyrics reveal, deadpan, sligthly Metamatic-ish. One can't help notice that this is late 2002, not that long after 9/11, a year in which the U.S.A., a republic whose military made it no secret its plans for adventures abroad, in Afghanistan and Iraq (yet again), bringing along the UK as a quieter, more adult, partner. These countries have their respective general publics lost in endless new definitions. This is a multifaceted song. Immediately, the song touches upon perceptions of self as much as it does the politics of the collective, the military-industrial, interpersonal relationships, history repeating itself, remaking the land that is the geographic location of the Garden of Eden.

Elsewhere, there are lyrics about getting lost in the cinema, the joys of sex, the joys of walking in the city, the joys of being alone and being in groups. A startled eye is the image on the cover. Inside, there are blurred images of people; close-ups of different parts of peoples' bodies, particularly women; an overpass; slightly opened blinds. Sex Video is sheer perfection, a pulsing existential mind/body fizzle and celebration. She Robot, musically, recalls and updates 030 and Metal Beat. Lyrically, it is a litany of media buzz words concerning high-tech, communication technology and consumer electronics all applied to a perfected female hybrid, a humanoid woman less inconceivable in the early 21st Century than she was in, say, the early 20th Century.

In the middle of 2004, there was buzz that Foxx was to soon be collaborating with Karl Bartos, formerly of Kraftwerk, and with Adult.. There was also talk of Cathedral Oceans III, a CD and a DVD.

Foxx expressed interest to several about working further with film and video, especially "disrupted" imagery, in much the same way that sound has been similarly disrupted since the nineteen-eighties with scratching, loops and sampling.

In late 2004, from September through October, a collection of Cathedral Oceans images was exhibited at BCB Art, Hudson, New York .

Discography

With Tiger Lily:

  • Ain't Misbehavin' 3.12/Monkey Jive 3.36 (7" single, released 14 March, 1974)

With Ultravox!:

  • The Wild, The Beautiful And The Damned 5.50 (as part of compilation LP called Rock, Reggae, Derek & Clive, released in early October, 1976)
  • Dangerious Rhythm 4.14/My Sex 3.01 (7" single, released 4 February, 1977)
  • Ultravox! (LP, released 1 March, 1977)
  • Ha!-Ha!-Ha! (LP, released 14 October, 1977)
  • Modern Love (live) 2.31/Quirks 1.38 (single, included with the first copies of Ha!-Ha!-Ha!)
  • Young Savage 2.58/Slipaway 4.09 (live at The Rainbow, a non-LP single, released 28 May 1977)
  • ROckwrok 3.33/Hiroshima Mon Amour 4.54 (7" single, released 14 October, 1977)
  • The Peel Sessions (12" single, recorded for the John Peel Show, BBC Radio 1, 21 November, 1977 and released April, 1988)

With Ultravox:

  • Retro Live (EP) (EP, released 1 March, 1978)
  • Slow Motion 3.27/Dislocation 2.55 (12" and 7" singles, both released 4 August, 1978)
  • Quiet Men 3.15/Cross Fade 2.56 (12" and 7" singles, both released 20 October, 1978)
  • Systems of Romance (LP, released 9 December, 1978)

Solo:

  • Underpass 3.18/Film One 4.00 (7" single, released 10 January, 1980)
  • Underpass (full length) 3.56/He's A Liquid (alternate) 3.06 (12" promo single, released 10 January, 1980)
  • Metamatic (LP, released 17 January, 1980)
  • No-One Driving (remix) 3.42/Glimmer 3.35/This City 3.05/Mr. No 3.12 (double 7" single, released 20 March, 1980)
  • Burning Car 3.12/20th Century 3.04 (7" single, released 11 July 1980)
  • Miles Away 3.17/A Long Time 3.49 (7" single, released 29 October, 1980)
  • Europe After The Rain 3.37/This Jungle 4.41 (7" single, released 20 August, 1981)
  • Europe After The Rain 3.59/This Jungle 4.41/You Were There 3.49 (12" single, released 20 August, 1981)
  • The Garden (LP, released 25 September, 1981)
  • Dancing Like A Gun 3.38/Swimmer 2 3.30 (7" single, released 30 October 1981)
  • Dancing Like A Gun 4.11/Swimmer 1 5.08/Swimmer 2 3.30 (12" single, released 30 October 1981)
  • Endlessly 3.51/Young Man 2.53 (7" single, released 16 July, 1982)
  • Endlessly (new version) 4.18/A Kind Of Wave 3.39 (7", released 17 June, 1983)
  • Endlessly (new version) 4.18/Dance With Me 3.31 (7", released 17 June, 1983)
  • Endlessly (new version)4.18/Ghosts On Water 3.12/A Kind Of Wave 3.39/Dance With Me 3.31 (double 7", released 17 June, 1983)
  • Endlessly (12" version) 7.40/A Kind Of Wave (12" version) 4.58 (12", released 17 June, 1983)
  • The Golden Section (LP, released September, 1983)
  • Your Dress 3.59/Woman On A Stairway 4.28 (7", release 15 September, 1983)
  • Your Dress 3.59/Woman On A Stairway 4.28/The Lifting Sky 4.44/Annexe 3.04 (double 7", released 15 September 1983)
  • Your Dress 4.26/The Garden 7.14 (12", released 15 September 1983)
  • Like A Miracle 5.11/The Lifting Sky 4.44 (7" and 12", released 28 October, 1983)
  • Like A Miracle (extended version) 8.11/Wings & A Wind 5.17 (7" and 12", released 28 October, 1983)
  • Stars On Fire 4.52/What Kind Of A Girl 4.40 (7", released 1985, summer)
  • Stars On Fire 4.52/What Kind Of A Girl 4.56/City Of Light 3.38/Lumen De Lumine 2.36 (double 7", released 1985, summer)
  • Stars On Fire 7.15/City Of Light 3.38/What Kind Of A Girl 4.56 (12", released 1985, summer)
  • Enter The Angel 3.58/Stairway 5.00 (7", released 20 September, 1985)
  • Enter The Angel 5.52/Stairway 5.54 (12", 20 September, 1985)
  • In Mysterious Ways (LP, released October, 1985)
  • Cathedral Oceans (LP, released 24 March, 1995)


With Nation 12:

  • Remember/Remember (Sub Dub Mix)/Listen To The Drummer/Remember (12", released 1990)
  • Electrofear (Beastmix) 4.20/Electrofear (Shemsijo Mix) 4.20/Electrofear(Dogmix) 3.56 (12", released 1991)


With Louis Gordon:

  • Shifting City (CD, released 24 March 1995)
  • Exotour 97 (1000 numbered edition CD from the 1997 UK tour, released 15 October, 1997)
  • Subterranean Omnidelic Exotour (500 numbered edition CD from the 1998 UK tour, released 15 April, 1998)
  • The Pleasures of Electricity (CD, released 21 January 2000)
  • Crash and Burn (CD, released 2 December 2002)
  • Drive EP (EP, released 9 September 2003)

With Harold Budd:

  • The Garden, the first site dedicated to John Foxx on the web
  • Rockwrok, the Far East John Foxx/Ultravox site
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