Codeine - Biography
History has treated Codeine well. The trio formed in the immediate wake of Slint, taking cues from that band’s slowest moments. Pioneering a style that would later be called slow-core, Codeine’s sound is a haunted swirl of suspended guitar tones, crawling tempos defined by negative space and hushed vocals. Stark and minimal, yet passionate and aggressive, the band’s albums have aged very well, marking the trio as one of the 1990s most intriguing art-rock groups.
Formed in New York City in 1989 by bassist and singer Stephan Immerwahr, guitarist John Engle and drummer Chris Brokaw, the band’s genius lies in its approach to tempo. Taking the obvious indie rock influences of the Velvet Underground, early Sonic Youth and various strains of post-hardcore music, Codeine stretched out the rhythm and melody into a slow progression of beautifully restrained tension. The band’s songs are defined by a creeping pulse with unbearable time between beats or notes, the negative space creating a subtle tautness fraught with anxiety.
The strength of early shows and a single demo proved the group’s style to be utterly unique. In fact many bands seemed to spring up after Codeine with a similar approach — Low, Bedhead and the Redhouse Painters to name a few. Codeine’s demo got the band signed to the Glitterhouse label in Europe and after the release of its debut album Frigid Stars in 1990, the band signed a deal with Sub Pop and the record was released in America in 1991.
The group’s aesthetic is perfectly laid out on Frigid Stars. Glacial tempos, feedback swells and ringing guitar notes define these tracks. The vocals are pushed to the back, delivered in Immerwahr’s nasal speak-sing style. At times sounding like a greatly slowed down Spacemen 3 or Galaxie 500, but with a greater sense of nervous urgency and darker tone, these songs still pack an enormous emotional impact.
After a tour of Europe with arty math rockers Bastro in the fall of 1991 the group returned to the studio. 1992 saw the release of a lengthy EP titled Barely Real. While Bastro’s David Grubbs contributes some elegant piano the EP is essentially an extension of the style set out on Frigid Stars. Comprised of six songs focused on achingly protracted pace and beautiful guitar work, Barely Real cements Codeine’s approach to deconstructed rock.
Drummer Chris Brokaw had been putting in time on guitar as part of Thalia Zedek’s band Come since 1991. In late 1992 Brokaw split with Codeine to pursue Come full-time. After completing an American tour with Antietam’s Josh Madell on drums, Immerwahr and Engle searched for a new drummer. Struggling to find someone willing to play at Codeine’s signature pace, the duo finally found Douglas Scharin. Scharin played in Rex, but managed to dedicate time to both bands.
The newly composed trio moved to Louisville, KY in the summer of 1993 to rehearse for an upcoming tour and write new material. While in Louisville Codeine worked with Grubbs to produce the Tom single featuring two songs with Grubbs’ contributions on guitar.
In the fall of 1993 the group returned to New York. Immediately Codeine set out on a heavy touring schedule with groups like Mazzy Star and the Grifters. After the tour the band entered the studio for what would be its final recording. The White Birch was released on Sub Pop in 1994. It’s arguably the band’s best release. The songs are slightly more melodic with an organic, mercurial quality and even more open space. The pace is still glacial, but the mood is a bit more varied than on previous albums. Immerwahr also sings more often than speaks, to largely great effect. Tracks like “Sea,” “Washed Up” and “Wird” harness Codeine’s particularly unique qualities making The White Birch a fitting end to the band.
1994 was dominated by final tours of the UK and Europe with the Spinanes and one last week of dates on America’s West Coast. After that the group spilt with Scharin working with Rex and June of 44 and Immerwahr moving on to a new band called Raymond.
Virtually defining the slow-core sound, no other band has been so focused or dedicated to its sound than Codeine. The band’s brooding, extended songs remain some of the most absorbing indie rock made in the 1990s.
Codeine re-activated in the early 2010s to accompany a slew of reissues via the vanguard reissue label, Numero Uno.