1. Existence [2:54] MP3 soundclip of Existence [0:34]
  2. Zero Hour [13:29] MP3 soundclip of Zero hour [0:52]
  3. TimeCode [11:37] MP3 soundclip of Timecode [0:57]
  4. Stasis [4:35] MP3 soundclip of Stasis [0:55]
  5. 24 AM [5:58] MP3 soundclip of 24 a.m. [0:38]
  6. Eden to Chaos (Dreamworld) [11:49] MP3 soundclip of Eden to Chaos [1:12]
  7. Foundation [2:31] MP3 soundclip of Foundation [0:33]
  8. Galileo [3:33] MP3 soundclip of Galileo [0:45]
  9. Call of the Earth [9:42] MP3 soundclip of Call of the Earth [1:00]
  10. Endgames [9:10] MP3 soundclip of Endgames [0:45]
A time honoured way of greeting new beginnings...and so it is here. The founder members of Fox and Wright are still alive and kicking, together with guitarist Andy Lobban. But the band itself takes on an altogether new dimension with the input of new members Louise Eggerton and Dave Massey.

With the first album "For Whom the Bell" breaking new ground and the next album "Uforia" almost breaking up the band (!) it was time to move on and move forward. "Timecode" has been almost a year in the making, with its beginnings going back to July 2002, - a two week period in David Wright's studio with both Fox and Wright laying down the foundation work for the album. A brand new Korg Karma each, and a burning desire to "get on and do something" led to a basic framework which both seemed pretty pleased with, and both agreed needed something more, something special being done with it and done to it. And so it was... Dave Massey who did to it, and Louise who did with it (or possibly the other way around!) And thus the new Code Indigo line up was created.

An intense 9 month period between September 2002 and May 2003 followed, during which time the original musical framework gradually evolved into the epic musical voyage that is "TimeCode".

All the 'Code Indigo' elements are here, but there is also a new dimension, a recognisable Code Indigo sonic signature (the Fox/ Wright input again clearly in balance) being added to by Dave Massey's fresh rhythmic arrangements and Louise Eggerton's stunning vocals, with Andy's timeless guitar work still very much part of the overall sound.

It is this freshness that comes through whilst retaining that which is clearly identifiable as Code Indigo. And whilst the music has been in harmony so too has the band, with a mutual acceptance of each others ideas and input.

There is quiet excitement surrounding this album, and the well balanced creative input clearly illustrates that if any one of these elements were removed, then the band and the music would be the poorer for it.

Long live a new beginning.

2003. Press information. Of all the ad music releases the albums of Code Indigo have uniformly been the most progressive, and best selling. In effect they are an “super group” as the members are the primary creative core of the label – David wright (synth), Robert Fox (synth), Dave Massey (rhythm & bass programming), joined by Andy Lobban on (lead guitar) and Louise Eggerton (voices).

Their new effort time code follows in the tradition of past celestial voyages as layers of electronics are beautifully overlain by soaring guitar lines, along with the angelic sounds of Louise. Musically the transitions are effortless as tracks segue one into another either conceptually or sonically. Overall when you put this one on you can settle in and experience some of the best the current em scene has to offer.

Archie Patterson / USA Well, I cannot agree with previous comments on this new album. I am a huge fan of both David and Robert and all things from their solo careers and Code I output.
However, the only thing that spoils this from being their finest album to date is the vocals. David used them, through using 2 vocalists, on Six Three Zero and in some cases worked out fine when one of the females sang while the other was frankly awful - anyone hearing this album will know which female I refer to.
This new album has some amazing sonics and melodies to die for but on a number of occasions the vocals are so way out that they become a total distraction from the underlying music.
Track 3 is a perfect example where if you were to remove the vocals then it would be hailed as one of the band's finest works. I personally do not feel that the vocals fit the music across a number of tracks; although the final track kind of works.
Overall, I love the music on this album and the direction that the band are taking, although it is not as far removed as they would have us believe from the old sound. There is little in the way of traditional Fox choral effects that were prominent on FWTBT but he has moved a bit towards the Wright camp in his solo output that it is now difficult to pick out the different styles of both main musicians.
I guess it is all about taste but for me adding a touch of the Cocteau Twins vocal warblings to the classic Code I sonics does not work for me. Maybe it is simply the style of her chanting that grates on my nerves but after repeated plays, would love to hear the album without Ms Eggerton's input.

2003. David Saunders / Scotland With intoxicating wordless vocals, lush swells of subdued orchestral effects, and melodies fit to resonate in the mind of a god, this album is the embodiment of elegance.

2004. Travis Briggs With TimeCode, Code Indigo delivers an outstanding album that combines elements of orchestral electronica, new age and chill out music.

Synthtopia Just wanted to comment a little on Code Indigo's latest release 'Time Code'.
On my first spins I can already say that there are at least three outstanding tracks at the very least! I like the spoken vocal samples that were used, which was quite often throughout the CD. One of them even included Stephen Hawking's own voice on the opening track saying, "Space and time are warped and distorted by the matter and energy in the universe." A lot of these spoken vocal samples caused me to pause and think about what was being said. For me the outstanding tracks are tracks 3, 6 and 9.
Track 3 titled 'Time Code', opens up slowly with drones of some sort and quite a few voice samples including the word, 'Time' spoken and added in the mix through reverb and then very nicely faded out. More voice samples, "We are cultural creatures", followed and backed by Louise Eggerton's inspiring and beautifully soothing voice, followed by a rhythmically hypnotic bass line accented by a piano melody and then enters into the mix of things some finely chilled guitar work. More of the same voice samples, "We are cultural creatures", "In order to understand where we are we must first understand where we have been", more beautiful and spine tingling oooh's, ahhh's and la's from Louise Eggerton and that hypnotic deep bass line.
Some spacey sequencer work enters the mix and again Louise Eggerton's voice used as an instrument creating an almost eerie feel. At the 9:13 mark everything seems to be all brought back and put together in the mix all at once bringing to a head and climaxing with some fine chilled out guitar work and then ending with the voice sample, "Survival is just a temporary thing".
Overall I would say that this track is very much a chilled out track but with a very catchy and hypnotic beat and deep bass line backed by Louise Eggerton's beautiful voice. Being a Code Indigo, David Wright and Robert Fox fan, that deep bass line is what I noticed new. I would venture to guess that that credit would go to our very own Dave Massey who's here on our list.
Much credit goes to him on the wonderful job he's done on the cover art also. Also, I couldn't help but think all those voice samples were David Wright's input as he used quite a few on his 'Three Six Zero' CD too!
After listening to this track many times on repeat, I couldn't help but get up and dance around by myself to this very soothing, controlled and chilld out track... and for quite some time too I will add! This is one of those gems that alone would make this CD worth your money.
Track 6 titled 'Eden To Chaos' opens up slowly with brooding and eerie sounds created through the use of electronics and then a rhythmic drumming lead is slowly added to a mellow piano bit. That rhythmic drumming slowly picks up the pace and energy, which for the most part seems to serve as the foundation throughout the track. Again voice samples again are used, but the drumming lead line is supported by a cast of instruments including Louise Eggerton's voice and the piano.
Overall, I couldn't help but feel that this track hedges more towards the electronic rock side with it's searing synths and soaring guitar work . Again, lots of voice samples.
Track 9 titled 'Call Of The Earth' starts out slowly with what sounds to me like tribal drums and a mellow synth lead.. The rhythm is then established, somewhat slow and melancholy with some non lyrical chanting vocals. The tempo and bass line then seems to pick up the pace a bit supported by that same synth melody and some more of those non lyrical vocals. The tempo and vocals then seem to get a bit more pronounced and in the forefront in the mix, lots of melancholy ooh's and ahh's follow and then at the 7:41 minute mark a beautiful softly spoken prayer follows, "Oh Great Spirit, whose voice I hear in the wind, whose breath gives life to the world, hear me, I come to you, as one of your many children, I am small .. and weak, I need your strength .. and your wisdom, may I walk in beauty, so when the light fades... as the sun sets, may my spirit may come to you...in beauty and light."

This CD is nice... and I'm sure with more spins I'll appreciate it that much more. For me, I love Code Indigo.

2003. Frank Arellano I think your enjoyment of this, the third studio album from Code Indigo, may depend upon how you take to new member Louise Eggerton’s "oohing" and ahhing" vocals. To be honest, I was a little dubious at first, but after a few plays, I became hooked.
After almost a year in the making, TIMECODE is a major improvement over the rather patchy EUFORIA and compares very favorably alongside their work in the excellent BLUE boxset. The group remain centred around the talents of founder members Robert Fox and David Wright, together with guitarist Andy Lobban, who made such an impressive debut at the acclaimed Derby Cathedral concert in 1998 (which is now available as part of the BLUE set). They are joined by two new members; previously mentioned vocalist, Louise and Dave Massey who handles rhythm and bass programming. Robert and David see TIMECODE as a fresh beginning for Code Indigo, with the significant contributions from Eggerton and Massey taking the band into a new dimension.
It’s a shade more "chilled" than earlier works, largely due to the hypnotic bass rhythms that ebb and flow through the album, yet still retains that unmistakable Code Indigo signature. Those who enjoy their glorious Vangelislike themes will not be disappointed and Andy Lobban’s superb, Gilmour influenced guitar work continues to invoke that instrumental Floydian feel from before. The beautiful, spine tingling piano motifs are simply the icing on the cake, elevating Code Indigo above many of their contemporaries. The production (by Massey and Wright) is flawless.

The 10 tracks blend together seamlessly, creating 75 minutes of classic and timeless" synth music. There are numerous hauntingly atmospheric passages interspersed between the rhythmic sections and some pieces have a wonderfully poignant and melancholic air. They still pepper the album with vocal samples, but thankfully these are rarely overdone and are usually interesting and thought provoking. TIMECODE is a journey to savour. Even the seemingly over-sweet Endgames (where Eggerton’s "La La" styled vocalize invokes a Francis Lai soundtrack!) conceals a more sinister feel.
Zero Hour and the title track are two numbers that immediately standout as future classics. With memorable themes and some stunningly beautiful moments they are destined to become live favorites. For me though, pride of place must go to the superlative Eden to Chaos (Dreamworld). Featuring sweeping synths and fuzzed guitars soaring over an up-beat, punchy rhythm, this has one of those melodic hooks to die for. (I might be wrong, but it does sound suspiciously like a reworking of Part 14 from FOR WHOM THE BELL).

FWTB remains one of my all time favourite English synth albums and I think TIMECODE is destined to become another.
Definitely recommended.

2009. Dave Griffith