The Garden is a 1981 album by John Foxx, the follow-up to his debut solo album Metamatic, released the previous year. By comparison, it features more diverse instrumentation and romantic stylings. Production and style The sound and subject matter of The Garden were informed by a number of factors: the composer's Catholic upbringing and early exposure to Latin mass and Gregorian chant; his exploration of England's countryside, architecture and history following the release of Metamatic; and the song "Systems of Romance", which had been written during sessions for the Ultravox album of the same name but was not included on the record, even though its title was used. Another connection between The Garden and Systems of Romance the album was the presence of guitarist Robin Simon, whose textured style had been a significant influence on the sound of the earlier release. Whereas on Metamatic the only conventional instrument had been bass guitar, Foxx used a full band of musicians on The Garden to play electric and acoustic guitar, electric bass, piano, and acoustic percussion, in addition to synthesizers and drum machines. Regarding the album's title and the influence of his travels through England, in a 1981 interview with Bruce Elder on Australian radio Triple J Foxx said, "'The Garden' seemed to be a pretty good metaphor because I found a lot of gardens that were overgrown and ruined and a lot of very grand buildings that were almost decaying - but I found them a lot more beautiful than they were in their original state, being overgrown". The opening track, "Europe After the Rain", encapsulated the style of the album as a whole, featuring discreet synthesizer work in concert with piano, acoustic guitar and a digital drum machine; its title came from a Max Ernst painting. The tune of "Night Suit" betrayed a funk influence, whilst its lyrics were among many on the album that alluded to 'The Quiet Man', an alternative persona Foxx had developed prior to Ultravox's Systems of Romance and which inspired one of its key songs, "Quiet Men". Foxx saw The Quiet Man as the epitome of detachment and observation, and claimed to often write from his perspective. Two songs that reflected the influence of church music and prayer were "Pater Noster" and the final/title track. The former was played entirely by Foxx, the Lord's Prayer sung in Latin against an electronic disco beat and the