REVIEW: The Cracking The Code International

Somewhere out in the desert sands of Tunisia, a lone building sits, baked white under the hot sun. Inside, past a gray wooden door, cool darkness reigns supreme. Bedouin cowboys and ex-pat pioneers lie scattered about the earthen loor, leaning against large faded pillows and sipping sweet mint tea. In one corner, an old TV rests on its side. Flickering reruns of Doctor Who illuminate the room. A lava lamp spills orange light up one wall. In the opposite corner, five musicians gather. Guitar, bass, drums, an old organ with cracking veneer, percussion in hand. They twist and spin melodies around sliding rhythms and shuffling grooves. It is the sound of the desert and the dust and the city streets before the dawn. And you can only get there through the music of The Code International.

Part acid-jazz, part lounge, part Ethiopian surf-rock, The Code International offers up instrumental music to get lost with. A soundtrack to wandering barren landscapes in a 1977 Fiat sedan. Drive a Japanese import instead? Fear not. The Code International sculpts soundscapes for those late-night urban cruises as well. Formed in 1994 by bassist and bandleader Steve Horowitz, the Code International has featured an impressive lineup of talent over the year. The current formation since 2000 finds Ryan Williams on keyboards, Andy Barbera on guitar, Michael Evans on drums and percussion, and Christopher Romero as The Hand. The results are nothing short of freaky cool swank. But to the Code International, their sound is best described as "trip-lounge."

"Some people have described our music as dark and moody with an edge," Steve explains, "and others as a soundtrack to something" although of what, I'm not sure. Like I said, wandering barren landscapes in a 1977 Fiat seems about right. Perhaps it's that aspect of ambiguity that gives the Code International's music such flair. There are so many shades of musical styles and flavors to be found in each composition, that the songs are at one moment familiar and at another, completely foreign.

The source of this ambiguity, however, most certainly lies in the group's method of songwriting itself. When asked about The Code International's approach, Steve describes their process of codification: "Basically we take older songs and new compositions, deconstruct the various forms and then recompile the pieces into something new. Something simplified," he adds.

Modesty is at the heart of his explanation, I believe. One listens to their songs, Kasalefkut Hulu, Saturnalia and Mean Mr. One Eye, and the immediate impression is of finely focused details. Every element of the Code's toolbox seems to be utilized with purpose. The crazy circus organ stylings of Ryan Williams. The sweeping electric guitar melodies of Andy Barbera. The shuffling drums and percussion of Michael Evans. The sauntering bass of Steve Horowitz himself.

And then there's The Hand. Christopher Romero's finger-triggered midi sound effects, for lack of a better descriptor, do more than just add color and texture. They are applied to compositions with tonal qualities, often responding to the melodies drawn by guitar and keyboards. But really, it's something best appreciated once seen live.

It's no surprise then that the word on The Code International is already out. A litany of the group's short compositions is the featured soundtrack on MTV s newest reality show, I Bet You Will. And there's promise for more soundtrack work in the future. They have also just completed a new limited edition EP featuring seven tracks, simply titled The Code International. Earlier CDs featuring the Code's past lineup are also available from Love Slave Records.

When asked about the group's more immediate goals, Steve was direct: "People are responding well to our music, but right now we need representation from a record label. And in the meantime, we'd like to put on more live show."

Perhaps a road trip to Toronto, I asked? I could set them up with a bunch of dates at a variety of venues. Steve laughed, and then asked me if I wouldn't rather come down to New York for a weekend instead. He had a point. And I believe in that instant, I had just been codified.

A pleasant experience indeed.