Structure
Killer, cyber-toned early '90s EBM by Detroit’s Afro-American answer to European body music, Code Industry - a massive RIYL Final Cut, Suburban Knight, Front 242, White House White, Nitzer Ebb, Robocop.
Perfectly weighted between early techno, EBM and industrial, 1991’s ’Structure’ was the debut by Code Industry after changing their name from Code Assault. Comprising a band of Black men, they were a rare proposition in the pasty industrial scene, but also epitomised its integral, foundational influence on early house and techno, and the sort of sounds that would influence Jamal Moss at Medusa’s in Chicago, or found in fellow 313 unit Final Cut - who featured a very young Jeff Mills aka The Wizard - and would be remixed by the likes of Carl Craig splicing Liaisons Dangereuses, or Derrick May on his killer take of Nitzer Ebb’s ‘Shame’, not to mention the undying influence of Kraftwerk. The transatlantic link is sealed with ‘Structure’s release by Antler Records, Belgian home of many industrial/EBM greats, and not least a key player in new beat.
Across ’Structure’ we hear Code Industry shaking shit up in their own way, with the jacking pneumatics of ‘Behind the Mirror (Image Mix)’ and ‘Fury’ sounding like Chris & Cosey meets Suburban Knight, while its slower ‘Release of Anguish Mix’ hails a proper, brooding Motor City sound somewhere between the Robocop soundtrack and Kemetrix, and the strutting thrum of ‘Dead City’ more explicitly move to nEuro styles, and ‘Crimes Against the People’ dial up the industrial vocals a la Skinny Puppy/Cyberaktif, but with Black power samples and sci-fi pads, and ‘Ail’ nails their politically charged cyberpunk foment.
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Killer, cyber-toned early '90s EBM by Detroit’s Afro-American answer to European body music, Code Industry - a massive RIYL Final Cut, Suburban Knight, Front 242, White House White, Nitzer Ebb, Robocop.
Perfectly weighted between early techno, EBM and industrial, 1991’s ’Structure’ was the debut by Code Industry after changing their name from Code Assault. Comprising a band of Black men, they were a rare proposition in the pasty industrial scene, but also epitomised its integral, foundational influence on early house and techno, and the sort of sounds that would influence Jamal Moss at Medusa’s in Chicago, or found in fellow 313 unit Final Cut - who featured a very young Jeff Mills aka The Wizard - and would be remixed by the likes of Carl Craig splicing Liaisons Dangereuses, or Derrick May on his killer take of Nitzer Ebb’s ‘Shame’, not to mention the undying influence of Kraftwerk. The transatlantic link is sealed with ‘Structure’s release by Antler Records, Belgian home of many industrial/EBM greats, and not least a key player in new beat.
Across ’Structure’ we hear Code Industry shaking shit up in their own way, with the jacking pneumatics of ‘Behind the Mirror (Image Mix)’ and ‘Fury’ sounding like Chris & Cosey meets Suburban Knight, while its slower ‘Release of Anguish Mix’ hails a proper, brooding Motor City sound somewhere between the Robocop soundtrack and Kemetrix, and the strutting thrum of ‘Dead City’ more explicitly move to nEuro styles, and ‘Crimes Against the People’ dial up the industrial vocals a la Skinny Puppy/Cyberaktif, but with Black power samples and sci-fi pads, and ‘Ail’ nails their politically charged cyberpunk foment.
Killer, cyber-toned early '90s EBM by Detroit’s Afro-American answer to European body music, Code Industry - a massive RIYL Final Cut, Suburban Knight, Front 242, White House White, Nitzer Ebb, Robocop.
Perfectly weighted between early techno, EBM and industrial, 1991’s ’Structure’ was the debut by Code Industry after changing their name from Code Assault. Comprising a band of Black men, they were a rare proposition in the pasty industrial scene, but also epitomised its integral, foundational influence on early house and techno, and the sort of sounds that would influence Jamal Moss at Medusa’s in Chicago, or found in fellow 313 unit Final Cut - who featured a very young Jeff Mills aka The Wizard - and would be remixed by the likes of Carl Craig splicing Liaisons Dangereuses, or Derrick May on his killer take of Nitzer Ebb’s ‘Shame’, not to mention the undying influence of Kraftwerk. The transatlantic link is sealed with ‘Structure’s release by Antler Records, Belgian home of many industrial/EBM greats, and not least a key player in new beat.
Across ’Structure’ we hear Code Industry shaking shit up in their own way, with the jacking pneumatics of ‘Behind the Mirror (Image Mix)’ and ‘Fury’ sounding like Chris & Cosey meets Suburban Knight, while its slower ‘Release of Anguish Mix’ hails a proper, brooding Motor City sound somewhere between the Robocop soundtrack and Kemetrix, and the strutting thrum of ‘Dead City’ more explicitly move to nEuro styles, and ‘Crimes Against the People’ dial up the industrial vocals a la Skinny Puppy/Cyberaktif, but with Black power samples and sci-fi pads, and ‘Ail’ nails their politically charged cyberpunk foment.
Killer, cyber-toned early '90s EBM by Detroit’s Afro-American answer to European body music, Code Industry - a massive RIYL Final Cut, Suburban Knight, Front 242, White House White, Nitzer Ebb, Robocop.
Perfectly weighted between early techno, EBM and industrial, 1991’s ’Structure’ was the debut by Code Industry after changing their name from Code Assault. Comprising a band of Black men, they were a rare proposition in the pasty industrial scene, but also epitomised its integral, foundational influence on early house and techno, and the sort of sounds that would influence Jamal Moss at Medusa’s in Chicago, or found in fellow 313 unit Final Cut - who featured a very young Jeff Mills aka The Wizard - and would be remixed by the likes of Carl Craig splicing Liaisons Dangereuses, or Derrick May on his killer take of Nitzer Ebb’s ‘Shame’, not to mention the undying influence of Kraftwerk. The transatlantic link is sealed with ‘Structure’s release by Antler Records, Belgian home of many industrial/EBM greats, and not least a key player in new beat.
Across ’Structure’ we hear Code Industry shaking shit up in their own way, with the jacking pneumatics of ‘Behind the Mirror (Image Mix)’ and ‘Fury’ sounding like Chris & Cosey meets Suburban Knight, while its slower ‘Release of Anguish Mix’ hails a proper, brooding Motor City sound somewhere between the Robocop soundtrack and Kemetrix, and the strutting thrum of ‘Dead City’ more explicitly move to nEuro styles, and ‘Crimes Against the People’ dial up the industrial vocals a la Skinny Puppy/Cyberaktif, but with Black power samples and sci-fi pads, and ‘Ail’ nails their politically charged cyberpunk foment.
Back in stock - Includes a double-sided insert with lyrics and liner notes by Pen Jackson aka E.N. Sevy.
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Killer, cyber-toned early '90s EBM by Detroit’s Afro-American answer to European body music, Code Industry - a massive RIYL Final Cut, Suburban Knight, Front 242, White House White, Nitzer Ebb, Robocop.
Perfectly weighted between early techno, EBM and industrial, 1991’s ’Structure’ was the debut by Code Industry after changing their name from Code Assault. Comprising a band of Black men, they were a rare proposition in the pasty industrial scene, but also epitomised its integral, foundational influence on early house and techno, and the sort of sounds that would influence Jamal Moss at Medusa’s in Chicago, or found in fellow 313 unit Final Cut - who featured a very young Jeff Mills aka The Wizard - and would be remixed by the likes of Carl Craig splicing Liaisons Dangereuses, or Derrick May on his killer take of Nitzer Ebb’s ‘Shame’, not to mention the undying influence of Kraftwerk. The transatlantic link is sealed with ‘Structure’s release by Antler Records, Belgian home of many industrial/EBM greats, and not least a key player in new beat.
Across ’Structure’ we hear Code Industry shaking shit up in their own way, with the jacking pneumatics of ‘Behind the Mirror (Image Mix)’ and ‘Fury’ sounding like Chris & Cosey meets Suburban Knight, while its slower ‘Release of Anguish Mix’ hails a proper, brooding Motor City sound somewhere between the Robocop soundtrack and Kemetrix, and the strutting thrum of ‘Dead City’ more explicitly move to nEuro styles, and ‘Crimes Against the People’ dial up the industrial vocals a la Skinny Puppy/Cyberaktif, but with Black power samples and sci-fi pads, and ‘Ail’ nails their politically charged cyberpunk foment.