HOME - DESIGN - MORE CODEK
HOME - DESIGN - MORE CODEK |
 |
|
 |
|
 |
|
'Sounds Superb 2'
sees Codek Europe continue their quest to become the heir to
99 and Ze Records, albeit with a modern Euro! twist and a sense
of humour. Everybody is talking up Hercules and Love Affair at
the moment for resurrecting disco but this label, and In Flagranti
in particular, has been digging that particular grave and robbing
its contents for six years now. The result, which includes this
Sounds Superb 2 EP, is fun, flamboyant and camper than a gay
window. There are four different artists on the EP but three
of them use the same ingredients of computerized, rolling Italo
beats plus one or two extra bits of garnish. In the case of 'Cockney
Wide Boy' (which strongly recalls Smith and Hack's remix of Herbert's
'Moving Like a Train') it's a relentless alto sax sample which
sounds stolen from James White and the Blacks. For 'Late Flight
LAX' it's a cute science video melody Can would have loved and
a languid female vocal. 'House of Funk', meanwhile, gets in the
occasional 'yeah' and disco interludes over an addictive bassline.
The odd one out is Siegfried Der Drachentoter which sounds like
an old Atari trying to figure something out. Over the top of
an early techno beat. (Trust me, it works). On top of this, Codek
really deserve praise for encouraging people to buy the vinyl
as most of these tracks sound as good, if not better, at 33 than
they do at 45. 'Cockney' in particular becomes sneering and tense
as it moves around a Rekids-esque K-hole. Since the first volume in the
Sounds Superb EP series featured one track from In Flagranti
and three other artists who we'd never heard of before (or from
since), I'm gonna assume that all four of these fake-sounding
artist names are really In Flagranti in disguise. Arms Neumond
starts it off with the plodding downtempo boogie of "Late
Night Flight L.A.X.(1);" sounds like this might be an edit,
complete with a lovely vocal sample about sunsets. Next up, Harmonika
Lyder's "Siegfried Der Drachentoter(2)" has gotta be
original production - a stuttering, bloopy track that sounds
like something from an educational science film you'd see in
high school (the part that shows all the blood circulating through
your body). On the flip, we got Airy Dun's "Cockney Wide
Boy(3)" with tight disco grooves and a no wave flair courtesy
of one skronky filtered sax, honkin' away into the night. Fab
Tak rounds it out with "House of Funk(4)" - another
edit? - working with a minimal drums / bass / handclaps loop
and tiny vocal snip, letting loose occasionally with a wakka-chikka
guitar breakdown. second release
from IN FLAGRANTI's new series of various artists releases :
SOUNDS SUPERB. Killer selection ranging from original productions
to punk funk classics re-edits. full perfect package. HIGHLY
RECOMENDED !!!!! This is the
second EP in the Sounds Superb series from Codek, featuring four
artists that are new to me. For starters we have Arms Numond
with "Late Night Flight L.A.X" a very Euro disco number,
a proggy walking bassline, soft synth pads and a nice vocal about
sunsets and rock and roll. Next up is Harmonika Lyder with "Siegfried
Der Drachentoter" a juddering, stuttering electronic disco
number with a minimal beat and bleeps aplenty. Over on side-B
is Airy Dun with "Cockney Wide Boy" an uptempo driving
groove, crazed whistle noises and some mad filtered horns in
the middle, this will sound bonkers live! Last up is Fab Tak's
"House Of Funk" a lowdown funky groove based round
a four bar loop, vocal snippets, neat beat edits and big handclaps
all dropping before ther big funky guitar lick comes in. |
|
 In Flagranti "Grand Central Shuttle" - If you're not familiar, the Grand Central shuttle goes back and forth between Grand Central terminal and Times Square all day. (Well, actually, it doesn't run late night, but you get the idea.) It looks and feels like a regular subway train, but it's just hitting those same two stations over and over. It's a fitting title for this song, which seems trapped in a similar loop of movement. More so, it seems to indicate an emotional snag that keeps a person from progressing beyond two points -- a dull, eternal present, and a vaguely traumatic recent past. Every time we seem to get to some sort of resolution, we're right back to the start. - www.fluxblog.org Sasha Crnobrnja and Alex Gloor
are experts in trash culture. Each release under their In Flagranti
moniker is grimy, funky disco, almost invariably accompanied
by a clip from Gloor of found footage from the late '70s or early
'80s that best captures the feeling of the music. Softcore porn,
as you can tell from the image above, is often an option. Gloor's
clip for this 12-inch starts at a Playboy Pajama Party, with
'Codependancy' as its soundtrack. Hef and the ladies are dancing
to the housiest track here. It's a hard-charging track that sounds
almost like an edit (much of In Flagranti's work does). Release
comes in the form of Tom Jones (or a damn good impersonator)
blabbering on about "asking you to spend your whole life
with,Ķ" We only get to the "me" late
in the game, but that's the charm of Flagranti and the whole
edit culture: these samples are teases, half-remembered moments
of tunes that are unlikely choices to be remodeled into funky
disco gems. The title track that comes before it on the A-side
is just as unlikely. Flangranti loop an insistent punk-funk bassline
and a wheedly synth underneath singer Arthur Owens, who himself
sounds like an edit version of himself. (Either that or he loves
to repeat phrases ad infinitum.) The Rapture might do well to
take notes. On the flip are two remixes of 'Coquine'. The first,
the 'Sanctuary' mix, is a smash waiting for the proper dancefloor
to work its magic. Stuttered vocals, stuttered percussion, stuttered
bass, it's something like what might happen if Akufen had spent
his formative days at the Paradise Garage. Solid stuff. The 'Supermarket'
mix, on the other hand, straightens things out and unleashes
the cowbell. Supermarket here is an unfortunately apt name, because
in its attempt to appeal to an imagined audience, it ends up
lacking the crazed zeal of the rest of this 12-inch's contents.
By now you should know that
I am a big fan of Inflagranti, since they came onto the scene
about 4 years ago, they have reinvented themselves soundwise
and always have something good to offer. Here again on their
most suited label Codek with three ace new tracks. "Grand
Central Shuffle" is a brooding piece of dark 80's style
disco not disco with Arthur Owens delivering a sinister line
over a bad ass slapped bass. Next is "Codependency"
the housey one (and there is always one) a dirty stuttering grind
with a big old sample and a tough groove. Over on side-B is "Coquine
(Sanctuary Mix)" a kind of electro disco stomp with French
vocal, heavy beats and farting analogue bass. Last up id the
Supermarket Remix of "Coquine" which is a cool little
edit with wonky synth loop and Liquid Liquid style percussion.
Oh did I mention the best porn sleeve we've had in ages so what i hear from
my hipster friends is that in flagranti is considered italo disco,
but honestly they use that term in such a contrived manner i
try to avoid it. despite having been explained to me many times,
i still have no idea what italo disco really means. luckily,
in the ghettro, disco is disco and we don't care. the dance floor
is the last place for questions. with enough glitter and gold
we're sold. so here's some new ish from in flagranti that codek
will release in '08. the footage is from an original broadcast
of playboy's roller disco, mixed with 3 of their new songs, newsflashes,
and commercial clips to create a retro-ridden dance mix dripping
fabulosity. the awesome in flagranti
returns in his own recognizable style of punk-funk-disco not
disco. 'grand central shuttle' is a minimal funk tune built around
a driving bass line and a tight drum set, featuring the vocals
of arthur owens the singer of new york based artanker convoy.
'codependancy' is funk-disco in a cut and paste fashion deep
bass with flanging hi hats and some random vocal sample... nice
little floor stomper. 'coquine' was recorded during a visit in
paris featuring the vocals of gabouchka. the "sanctuary
mix" is a high energy track with a lot of nervous break
downs and chopped up vocals while the "supermarket mix"
has more of a pop sensibility. hot stuff on codek. |
|
 This Codek 12" compiles some of the label's finest artists together for a bumper piece of plastic. Kicking off with Inflagranti's "Low Dose Virility" a jaunty party disco number with ace discoid bassline, funky guitars, rewinds and cool edits. Oblio's "Escape" is an ace slow down cosmic synth beast, as hypnotic as it is ploddy. Over on side-B Freddie Mas' "(A Lonely Sea) Tide To The Tide" is a groovy little electronic dance number with kooky synths. Lastly, Lobt Noch Irrt's "Heizgas Meter" is a big sounding synth monster with an ace groovy breakdown and some great crooning at the end, very good EP indeed. - www.piccadillyrecords.com |
|
Complete insanity from Freddie
Mas on Codek, four tracks in total and he runs the whole gamut
of weirdo dance music on here. "Tails Of Prevailing"
is a full on acid assault in an electronic rave kinda way. "The
Way They Look At Us" is a distended downbeat track, that
sound like it's on the wrong speed, all warped vocals, weird
guitar FX and sludgy beats. On side-B "In The Act"
is a Rephlex style wobbly acid techno throb with cut up vocals
and stuttered samples. lastly we get the raging electronic punk
of "Bathing In The Boil" a killer riff, shout vocals
and an electronic bleep fest undercurrent, not bad I say. Citing Freddie Mas' biggest
influences as "dreams, coincidences and house parties...",
the Chicago native has been introducing a physical dynamic to
his productions, collaborations, infamous DJ sets and performances.
something that, he feels, has long been missing from a rather
stoic NYC dance scene. The Arc ep features 4 new tracks entirely
written and produced byFreddy Mas that sit somewhere between
electro-rock-punk-funk-house & genius....
americas bastard. citing 'dreams, coincidences and house parties' as main influences, freddie mas is determined to forge a new level of expression in popular music. simply describing his music as 'motion motivated', freddie has brought his uniquely physical dynamic to the new york art rock/ dance scene since 1997 with extremely unpredictable performances and dj sets that are heavenly and demonic, often simultaneously. sometimes dangerous but never stingy, mr. mas aims for textural and emotional vistas largely uncharted by his contemporaries. freddie mas
has released material on codek, output, tigersushi, and soundlab
records. this fall sees the new www.myspace.com/freddiemas
|
|
Rarely does
In Flagranti ever have other people remix their tracks, but when
they do you know it's gonna be nasty (in the good way)! I didn't
think it was even possible, but Parisian duo Sex Schon turn up
the heat on the already proven dancefloor scorcher "Nonplusultra"
making it sizzle like my Bushwick apartment in August with no
A/C. Right from the get go their remix(1) has some of the toughest
drums and sickest synth bass stabs to make the hips sway and
the shoulders shake. Then comes the sexy French girl vocals,
grinding bass, cowbells and electro snares like a slap to the
face (or ass). The hipster slash pseudo-model crowd won't know
what hit 'em. Recommended. |
|
Clad in their usual 70s designer porno artwork, this is the first single for 2007 from In Flagranti. Over the past couple of years they've worked out their own fiendish derivative of techno, house and disco, cutting a niche of decidedly knave-ish tracks. Although utterly original, "Intergalactic Bubblegum" sounds like some sci-fi disco track crossed with a Throbbing Gristle outtake and "EFX 10-11" is Chicago techno meets the BBC Radiophonic Workshop. B-side Bipolar is interesting indeed, a collection of strange synthwave which occasionally settles down into a nu disco groover. - www.piccadillyrecords.com sasha crnobrnja and alex gloor return with a follow up to last years ''wronger than anyone else'' 12 with g.rizo on vocals this is a sexy and slow burning classic - good mash of knock on wood. - www.roughtrade.com In
Flagranti's first release in 2007 features G. Rizo ("the
queen of the galaxy|) with a punky ESG-ish rap over a backing
based on Amii Stewart's hi-NRG anthem "Knock On Wood".
Its very good!! "EFX IO-II" is more of a bass n bleep
rave track whilst on the flip "BiPolar" is a spacy
Italo instrumental - Kano meets Pete Shelley. An impressive record
that is a perfect encapsulation of the New York buzz! Great sleeve
too! |
|
 |
click on pics for complete CD info |
 IN FLAGRANTI - 'IT,S ALL RUBBISH' In Flagranti are back with another corker on the bodaciously non-conformist Codek. Tongue-in-cheek electro-disco title track that you can take seriously, too. This record's theme is Britt Ekland and her seperation from Rod Stewart. 'Business Acumen' with it's dark guitar riff and slurpy disco beats might just reflect that alleged £1m settlement (see EP title for Ms. Ekland's response to said rumour/leak/fabrication/taxing question). And the 8/4 oddbeat syncopation certainly isn't lost on us as it heralds 'Deceptive Secracy'. It's just a good thing that none of that sort of behaviour goes on - www.covert.uk.com IN FLAGRANTI
- 'IT,S ALL RUBBISH' IN FLAGRANTI
- 'IT,S ALL RUBBISH' IN FLAGRANTI
- 'IT,S ALL RUBBISH' IN FLAGRANTI
- 'IT,S ALL RUBBISH' |
|
IN FLAGRANTI
- 'GENITAL BLUE ROOM' IN FLAGRANTI
- 'GENITAL BLUE ROOM' IN FLAGRANTI
- 'GENITAL BLUE ROOM' IN FLAGRANTI
- 'GENITAL BLUE ROOM' |
|
 |
|
IN FLAGRANTI
- WE MAKE LOVE IN A HOUSE MADE OF GLASS IN FLAGRANTI
- WE MAKE LOVE IN A HOUSE MADE OF GLASS |
|
IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' |
|
TIMOUT NYC
best of 2005 IN FLAGRANTI
- 'BANG BANG' feat. G.RIZO IN FLAGRANTI
- 'BANG BANG' feat. G.RIZO IN FLAGRANTI
- 'BANG BANG' feat. G.RIZO IN FLAGRANTI
- 'BANG BANG' feat. G.RIZO IN FLAGRANTI
- 'BANG BANG' feat. G.RIZO |
|
IN FLAGRANTI
- MELODYMAKER IN FLAGRANTI
- MELODYMAKER IN FLAGRANTI
- MELODYMAKER |
|
IN FLAGRANTI
- NONPLUSULTRA IN FLAGRANTI
- NONPLUSULTRA IN FLAGRANTI
- NONPLUSULTRA IN FLAGRANTI
- NONPLUSULTRA IN FLAGRANTI
- NONPLUSULTRA IN FLAGRANTI
- NONPLUSULTRA |
|
|
A1) radiergummi
der gefühle C1) stadt
der untoten idioten |
|
|
|
|
IN FLAGRANTI
- JUST GAZING/REMIXES IN FLAGRANTI
- JUST GAZING HOW TO KILL
THE DJ (tigersushi) IN FLAGRANTI - DAY IN DAY OUT In Flagranti, groove to the sounds of Afro funk, disco-stomp, downtempo melancholia and characteristically Codek envelope-pushing style. Mid-tempo funky, freestyling psychedelic apres-chill coolness. - Tunes.co.uk IN FLAGRANTI
- DAY IN DAY OUT
this is the first release from codek records europe, an offshoot
of the brooklyn-based codek label headed by dj/producer sasha
crnobrnja. side a is funky afro-cuban drum-breaks fused with
fuzzy fela-style keyboard solos, sprinkled with cosmic rocker's
trademark dub flourishes. the flip features two shorter cuts,
the disco-funky "just gazing" and the more off-kilter
sounds of "once in a wile" a nice down tempo cut with
disorienting, warpy touches hat make you feel like the valium's
starting to kick in. - XLR8R
|
1. DAY IN
DAY OUT |
