Code Indigo – Meltdown


Released: 2013 By AD Music

Available on backorder

SKU: AD109CD Categories: ,


  1. Welcome to the Asylum [4:27]
  2. Meltdown [5:06]
  3. City of Fools [2:31]
  4. Costing the Earth [2:58]
  5. Eco-Nomic [4:03]
  6. The Men Who Crashed the World [6:44]
  7. Keep Taking the Pills [7:28]
  8. Black Gold [1:18]
  9. ID Code [8:54]
  10. Carbon [1:30]
  11. In the Dark [5:26]
  12. The Men Who Crashed the World [5:28]
  13. Bail Out [4:04]
  14. Bankers In Wonderland [4:08]
  15. Greed in the Bubble [5:09]
  16. Bonus Culture [3:00]
  17. ID Code – Radio Edit Remix [4:00]

MELTdown’ is an epic, concept style musical journey, beautifully conceived and highly evocative. It is moody and topical electronica featuring some ofthought provoking chill out music you’re likely to hear anywhere.

Additional information

Weight 105 g



Jewel Case

1 review for Code Indigo – Meltdown

  1. Sylvain Lupari / & synth&

    After an absence of more than 7 years, Code Indigo makes a strong comeback with a solid album which allies ethereal progressive rock to melodic EM. MELTdown is a delicious concept album which denounces white collar bandits and their economic crimes. There are lots of noises and background ambiences in this finely polished album, indeed, the atmospherics remind us of Pink Floyd with voices and brief commentary of current events weaving within rhythms and ambience. The music, and its musical themes, bewitches us, both by a delicate harmonious approach and the constant progression of its splendidly content rhythms. Code Indigo forges a musical story that conjures up an image of the failure of society and the financial sharks in suits. Beyond its story, MELTdown is the result of a strong musical consortium where David Wright, Dave Massey, Neil Fellowes, Nigel Turner-Heffer and Dave Bareford charm as much as they amaze with an album which see ms as timeless as the talent of its authors.

    Winds, gratings of blue metal, rustles and jerky ringings which scroll with hesitation herald the opening Welcome to the Asylum” which widens its five minutes in an asylum where the noises and spectral winds feed constantly a climate of paranoia. We are hearing easily the lost arpeggios which ring in an ill-assorted harmony

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