Cabaret Voltaire ‎– Code

This is a double-edge sword to be precise. In terms of production, 'Code' is a masterpiece of its time - borrowing from the duo's early 80s' material (most notably 'Micro-phonies) but with less menacing and more pristine results. In terms of contents however, it couldn't have been shorter of ideas (not to mention experimentalism). By the time 'Code' was released, Cabaret Voltaire started experiencing tiresome repetition - 'The Drain Train' was a bore and frustrations with modern dance was obviously catching up with them; Depeche Mode were still on top of the game, while groups like Nitzer Ebb and Front 242 created far more intriguing material. 'Code' by comparison sounded soft electro-pop - amusing at best but in large a shadow of Cabaret's former selves.

'Don't Argue' might scare you off on record, however as a single it shows sad flirtation with black music (albeit the backing female vocals are the best part of it) - if any consolation to a fan, 'Code' still sounds confident in keeping its European electro-sound unlike The Human League's 'Crash' shows all of the dreadful attempts at the American market.

While Mal's vocals still keep its 80's whispering menace appeal, Kirk's arrangements are predictable - 'Sex, Money, Freaks' includes interesting bass and James Brown-like sax solos (courtesy Mark Brydon and Simeon Lister of Chakk) but it is way too long and hollow track. 'Thank You America' is very possibly an overview of the duo's fascination with the US massmedia abusive of fear and consumption (previously delivered in thir avant garde period of '3 Crepuscule Tracks' and 'The Voice of America'). 'Here To Go' sounds more like 'Here to go nowhere' - groovy but like 'Freaks', just too empty...

Side two offers far more better solutions - 'Trouble Won't Stop' is a stunning electro-pop tune with paralysing bassline, very dynamic funky sound. 'White Car' on the other hand could very easily be a leftover from the duo's 'Covenant' days. A bit faster by rhythm but like most of Side A of the record, it is here only a filler - a dancefloor winning combination but nothing to do with at home. 'No-one Here' is a standout track, combining film-noir, jazzy atmosphere (Lister again) juxtaposed with edgy electronic beat. Two finer dance-pop tunes, brilliant 'Life Slips By' and the closing number 'Code' announce the Cabs' slow departure from mid-80s electro-funk which by this time got fully absorbed by many others that continued capitalising on the duo's experimental fame.

In general 'Code' is a recommended listen although it is one of their most instant efforts.