This energetic dance song always puts a smile on those who dig progressive house. Granted, the long mixes takes over a minute to get your attention, and someone who doesn't like progressive trance-like house might argue that the song is too repetitive, but the song grabbed me the first time I heard it. With the right DJ mixing in the beginning and ending, you end up with an energetic song that builds and climaxes two or three times to a black woman with a nice almost Donna Summer like vocals. Appeals to progressive dance fans with that right cross between European instrumentation and urban American vocals.

The best songs from this album demonstrate the emotional, psychological power of music. Yet Click Click was too ahead of their time to get the recognition this album deserves (which is why I'm writing this 15 years after the CD was released).

A rundown of this premier Click Click release, the one album from this Sheffeld, England 80s-90s alternative-industrial techno act that you must own if you can only own one...

"Moist" is an amazing song (rare 5 star rating) that starts fairly non-descript but builds quickly and ultimately very intensively... really ROCKIN', dark but pleasantly moving.

Other top tracks on this album are (besides "Moist"), in order as they play:

2. "Is This It?" - This has got it all. A somewhat slower, heavy drum, tribal rhythm, Middle Eastern musical interludes, and is that rockin' industrial BANG/POW attitude that reminds me of something from The Matrix soundtracks.

3. "Room" - Slow, sneaky, somewhat eerie, yet simple, and technically industrial because of some of the unusual percussion. I think it's also beautiful and relaxing.

4. "A Little Room Sickness" - One of my favorite songs of all time to relax or snooze to. Vincent Price (famous classic actor with distinctive voice, at times eerie, as in "The Pendulum" movie or the poem that ends Michael Jackson's "Thriller") or someone similar sounding begins the track saying, "We'll be together again." The song is similar to something from Tear Garden or a mellow Skinny Puppy melody, a euphony of simple keyboards, light piano and occasional percussion effects, with angelic voices filtered through a synthesizer. Beautiful.

5. "She Can". Great militaristic drums and futuristic, dark techno complement the male singer's strong vocals, which are clear, smooth and confidant. This song is so in theme with other dark industrial techno of its period. It's also better, with synthetic strings and horns added midway through climax, and its mid tempo percussive rhythm is just right for nearly any mood.

Several other songs are also enjoyable if you like the above. You get your monies worth on this CD. It's one I hope to enjoy for life.

The thing that makes this album stand out among techno, industrial, EBM/aggrepo albums of the 1980s is the consistent likeability and danceability of all songs. Code was probably the most club-centric album of Cabaret Voltaire up to the time of its release, and most comparable to Micro-Phonies, another great album. (See Micro-Phonies poster on Ferris Bueler's bedroom wall in movie).

Code is not as aggressive, noisy or industrial as CV's other albums up to 1987, but it is nevertheless edgy and instead adds a funky groovy dimension that wasn't yet heard much within progressive music but became more common during 1990s through today with house music's invocation of funky disco. CV transitioned from this album to even groovier house techno in future releases through early 1990s. "Don't Argue" and "Here to Go" were the singles played on progressive radio and clubs at the time, which I rate 4-stars along with "Trouble (won't stop)", which is true funk techno. "Thank You America" also stands out, and the rest of the album remains pleasant and fun to bring out a consistently progressive rhythmic sensation for techno-leaning audiophiles.

"Late Night Satellite" sounds much like other great synth-pop or techno-pop of its time period. I would have expected it to be a commercial hit in countries like Germany or the U.K. where this style topped the charts then. It's less techno and more pop sounding than any other single Boytronic released prior to or after the band's reorganization around 1987. I don't normally enjoy pop music, but this is a beautiful and happy song, somewhere between "Man in Uniform", "My Baby Lost Its Way" and "Hold On".

"When the Feeling's Gone" is a pleasant, but not noteworthy, ballad with a couple of interesting instruments: bongos and that Moroccan/Spanish small guitar-like string instrument.

An 80s house music classic, one of earliest American house releases I'm aware of that made it big across the world at dance clubs that promoted house music. Over the next decade and a half--what with acid house, raves and the Renaissance festivals and tours expanding the house music phenomenon from England to the world--it's no wonder that an updated version of "Ride the Rhythm" was released in 2001 on the 3-CD "Renaissance Ibiza" mix (by Z Factor).

The 7.5 minute long version takes over a minute to get your attention, and I could see someone who doesn't like progressive trance-like house saying the song is too repetitive, but the song grabbed me the first time I heard it. With the right DJ mixing in the beginning and ending, you end up with an energetic song that builds and climaxes two or three times to a black woman with a nice almost Donna Summer like vocals. Appeals to progressive dance fans with that right cross between European instrumentation and urban American vocals.

This classic 1988 Belgian New Beat hit includes sampling of many humorous and obscene remarks by American performing artist Karen Findlay (who performed "Tales of Taboo" classic dance song a year or two earlier).

"Quite Unusual" is considered by many 1980's techno fans (aka electronic body music, aggrepo, or industrial techno) as one of the better classics from this decade. This is one of Front 242's best songs ever and an essential track to represent the mid-80's post new wave underground, progressive, hard-edged electronic dance scene.

"Aggressiva" (sp?) is another good industrial techno track, perhaps more underground, and makes the 2-song record a decent value because the songs are different yet both enjoyable.

5-Star House Party music classics "And Party" and "The Roof Is On Fire!" brought the house down, probably literally, back in 1990 and 1991. Just look at how many releases of these two songs were made in different formats.

Classic House meets Techno Funk meets Acid Beat, and introduce themselves as they burn down the house!

The slow eerie futurist techno music and mod 80's poetic voice of England's Anne Clark made the B-side "Poem for a Nuclear Romance" an impossible-to-find classic is that was played late at night during the mid-to-late Eighties in dark foggy ultra-cool "underground" new wave or "techno 2000" dance clubs where everyone wore black. It's gothic techno if there ever was such a thing (like Depeche Mode's "Black Celebration" or "Performance" by Tones on Tail).

The nightmare nuclear-disaster lyrics about an impossible love affaire are forever memorable, printed on the back of her pink 12" or within her Trilogy compilation CD:
"What will it matter then when the sky's not blue but blazing red... When all our dreams lay deformed and dead, we'll be two radioactive dancers spinning in different directions, and my love for you will be reduced to powder. The screams will perform louder and louder. Your marble flesh will soon be raw and burning. And kissing will reduce my lips to a pulp..."

This short song represents two images of the 1980s: Fear of nuclear holocaust and the growth of futuristic electronic music from England and other Nordic nations. Nearly 20 years later progressive electronic music is a global phenomena sold at the smallest record shops to Amazon.com and Virgin Megastores, and we still worry about nuclear holocaust, but this time not from the Russians but instead from terrorists.