Bad Alchemy#66 and Vital Weekly

CODE INCONNU Code Inconnu (Chmafu Nocords, CD-R / Noise Appeal, 12"): Ein Projekt aus Graz, dessen Gitarre-Drums-Synthie-Grundstock aus Gottfried Krienzer, Markus Sworcik und Christoph Uhlmann sich für ihr drittes Update erweitert hat mit Reas am Bass und Gesang von Hannes Schauer, der auch für die Lyrics zuständig ist. Seine dunkle Stimme, oft mit einer Art Sprechgesangentschiedenheit, beißt sich nicht schlecht durch gegen die anbrandenden Gitarren- und Synthienoisewogen, das Knurren und Pochen einer toughen Band, die die School of Bulbul nicht geschwänzt hat, aber auch internationale Vergleiche nicht zu scheuen bräuchte. Bei ,Fly Me To The Moon’ mit seinen markanten Stakkatos und dem Kontrast von unheimlichen und pathetisch lunaren Momenten scheint Schauer russisch zu singen. Schon vor dem knurrigen ,When I’m Starting Too Slow’ ist schwer vorstellbar, wie diese Musik, dieses Gitarrensperrfeuer, bisher ohne Bass auskommen konnte. Point’ gibt sich anfangs stoisch, eskaliert aber dann aber ebenso triebtäterhaft ins Intensive wie alle Code Inconnu-Songs. ,Young Canadians’ brodelt zum Schluss mit Splatterbass wie ein Blutsee und Schauer stemmt, breitbeinig auf ein schimmernd sich erhebendes Gitarren-UFO plaziert, eine You-and-Me-Hymne auf Großpathos-Gipfel. Mit ,Küss die Hand’ an jene, die am liebsten den Großglockner kappen würden, weil der so unverschämt nach oben strebt.
Rigobert Dittmann / Bad Alchemy #66 / 2010

CODE INCONNU – CODE INCONNU
I suppose it is no coincidence that this Austrian band carries the same name as one of the films of Austrian director Michael Haneke. Code Inconnu is Markus Sworcik (drums), Gottfried Krienzer (guitar) and Christoph Uhlmann (synth). As a trio they started in 2001, with Graz as their base. For their newest and third release they are joined by Reas Klockl (bass) and Hannes Schauer (vocals). So I deduce they changed direction considerably for their new record. They compiled an album of composed song structures that have strong roots in 80s new wave. Sometimes I had to think of how Allen Ravenstine added electronics to the songs of Pere Ubu, although Code Inconnu is a totally different band. Their music often sounds like a very thick soup. All sound ingredients together produce something very dense and unable to look through. A massive wall of sounds and noise, especially because of the use of heavy electronic tapestries. This is noise rock par excellence and done very convincingly. It
works well for me in tracks like ‘Recollected’.
In quieter tracks like the first part of ‘Point’ the music looses my interest. In their mixing of vocals and electronics the most interesting things happen, like in ‘Dub an ordinary woman’ that opens with great guitar work by Krienzer. But reviewing CDs of rock music I always have the feeling that nothing changes in rock music. Essentially it are always the same basic ingredients. Also in the case of Code Inconnu I come to this conclusion. Although they are able to put their own stamp in a very dynamic and fresh way. They spread out much energy and power as we expect from rock music, and that makes them appealing. But for me this does not compensate the fact that it is in the end rock as we know it so well. I wished they put more "inconnu codes" into their music. With the closing track "Young Canadians" they lost all my credit. It is full of the usual pop pathos that just horrifies me. The vinyl version of this record is released by Noise Appeal Records. As a CDR it is realized by Chmafu Nocords.
DM / vital weekly / 2010