Posts Tagged ‘Code’

UK electronic quartet CODE earned their stripes in the electronic scene of the early 1990s and were championed by the likes of John Peel, John Digweed and Kiss FM presenters Colin Dale and Colin Faver. Their debut album, The Architect, was issued on the Third Mind label in 1995 just as that company folded, but has often been cited as a cult classic. Its follow-up, Ghost Ship, finally arrived in late 2020 after a 25 year journey and was enthusiastically received by critics and fans.

Like that album, Continuum has been assembled by remodelling material from archived studio sessions and sounds like it could have been made yesterday. Emotionally engaging and exquisitely produced, it is timeless music that, although carrying traces of influences such as Kraftwerk, The Blue Nile, Talk Talk, David Sylvian and Depeche Mode, also has a romantic techno intensity all of its own.

‘Acheron’ is the second single to be teased ahead of the album. An instrumental, it sits in contrast to its predecessor, ‘Pleasure’, which was a slinky slice of pop existentialism. Acheron is known in Greek mythology as the ‘river of lost souls’, although sci-fi fans are likely to be more familiar with ‘Acheron LV-426’, one of three moons orbiting the gas giant Calpamos. It was here that a crew member of the USCSS Nostromo first discovered the eggs of a species of alien that would go on to spawn a highly successful movie franchise.

CODE had embraced the tactile nature of analogue tech from the outset and often jammed ideas as their DAT machine recorded, with each band member presiding intently over one or more pieces of kit, including their pre-MIDI SH101 and Korg PolySix synths, slightly newer Roland drum pads, guitar, 16 channel mixing desk and cassette deck. One of these sessions saw them focus on a version of an existing piece entitled ‘Atlantic’, with the resulting new track being entitled ‘Acheron’.

The band explain that “the challenge was to retain the warmth and idiosyncrasies of the original recording whilst subtly enhancing definition and clarity. This primarily involved reshaping the original nine minute jam into a more concise form whilst enhancing key elements to create a more dynamic soundscape.”
‘Acheron’ appears on the CD and digital formats of Continuum, with the 2xLP release featuring a remixed/remastered version of ‘Atlantic’, which had been included on their debut album.

Watch the video here:

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Kent based electronic quartet CODE have released a rebooted version of their 1992 debut single ‘Light Years’, which was available on white label only at that time and remains highly collectable to this day. Attracting support from John Peel at Radio 1 and Colin Faver and Colin Dale at Kiss FM, the original was a cross-genre classic; cosmic and psychedelic yet club-friendly, it pointed towards the future while acknowledging past masters such as Tangerine Dream with its sinuous, mind-bending arpeggiations and minimal melodic motifs. The 2020 upgrade remains true to its industrial techno roots but adds a contemporary dancefloor sheen. Bandcamp orders will also include a remix by Bjika, a musician who melds the spatial elements of progressive and deep house with the rawness of Detroit techno.  
The full length rework of ‘Light Years’ appears on a new album by CODE entitled ‘Ghost Ship’, their first in 25 years.

Watch the video here:

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Sound on Probation – SOP018 – 17th April 2018

Christopher Nosnibor

Zonk’t is one of the many guises of polychrome composer Laurent Perrier. According to his biography, while many of these projects often share many common elements, they are all built on a strong individual identity, and are therefore distinct and different from one another. Thus, Zonk’t ‘has always been a way of exploring the most ambient fringes of dub, and the transition from the all-digital to compositions made entirely on modular synthesizers has overall not changed its approach in depth’.

The album takes its title from the cryptanalytic process developed by Alan Turing during the Second World War, which ultimately facilitated the deciphering of the coded messages the German military produced via their Enigma machines. The track titles all relate back to the theme of the title. However, this album seems more concerned with the evocation of messages buried or encoded than the application of complex formulae to the compositional methodology.

‘Square’ (which I assume to be a reference to the Polybius square, also known as the Polybius checkerboard, which in cryptography, is a device invented by the Ancient Greek historian and scholar Polybius, for fractionating plaintext characters so that they can be represented by a smaller set of symbols, at least according to Wikipedia). occupies the entirely of side A, almost 20 minutes of slow-paged ambient dub propelled by thick, heavy beats. Thin, twisting sinews of sound like strings stretch across the space and spin layers of texture.

Side B contains three more short-form compositions in the shape of ‘Chronogyre’, ‘Colossus’, and ‘Conditional Probability’. The first of these forges a low, deliberate groove that undulates at a deliberate pace, while erratic, glitchy beats and crackles of static flitter and clank through the swampy tones. ‘Colossus’ picks up the pace and the bass-centric density, thwupping and thrumming in waves. A stark synthesised stab echoes out before the final track – the most direct and beat-orientated of the set – conjures an immersive retro-futurist groove.

It’s the combination of space and bass-orientated groove dislocation that makes Banburismus worth the effort. It’s not immediately accessible, and doesn’t sit comfortably in either the ambient or dub genres. Crossovers as far removed from not only the mainstream but the mass market as this will inevitably slide into ultra-niche categories, but this by no means devalues the work. If anything, the existence of Banburismus only further illustrates the need for art more than mere entertainment.

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