Codeseven formed in the fall of 1995 by three brothers and a couple close friends in Winston-Salem, NC. Playing together as brothers for their entire life has built a trust and musical connection that builds their evolving sound of the band to unprecedented heights. Finding friends that shared that same vision was the true blessing for this band. Dancing Echoes / Dead Sounds is the culmination of that evolving sound and friendship that should speak volumes to their peers and those in the mainstream music world.
Codeseven first released A Sense of Coalition (The Music Cartel) and that in turn put the band on the map with a college radio Top 10 record. The standout track being Don Henley’s “Boys of Summer”, which was critiqued and praised on the Howard Stern Show by Howard himself. It was an unexpected path to start but they were now known not just in their home state of North Carolina, but also throughout the country.
Not long after the release of Coalition the band headed into the studio to record the EP Division of Labor. Recorded by Kurt Ballou at God City Studio in Boston, they decided to experiment with heavier sounds but still keep the melodic edge. “Since day one our thing was to take aggressive music but add melody in with it and make it sound seamless. That was our thing, and with Division of Labor we tried to push that even farther. It sounds crazy but in 95 there weren’t a lot of bands doing that and was an unconventional way to write,” states bassist Jon Tuttle. Division of Labor hit the streets to numerous rave reviews and interviews in Hit Parader, Metal Maniacs, Terrorizer, and Kerrang. The College Music Journal praised the record, “With chiming guitar tones, quirky time changes and a delicate balance between loudness and melody, Codeseven whirls like Hot Water Music doing a tango with Cave In.” Division of Labor went on to top the CMJ metal charts and be featured on WWF’s Sunday Night Heat.
In 2000, the group collectively decided to revaluate the band, and where it was going. It was best to take a year off. “We were burnt out I guess and needed to take a break.” When Codeseven decided to get back together and start writing they thought it was best to forget everything musically they had done in the past and start fresh. The writing would end up being The Rescue.
The final release on The Music Cartel pushed the boundaries of the genre, drawing on the eclectic, experimental interest of Pink Floyd and Bjork, while capturing the energy and emotion of punk. The Rescue was produced and engineered by Alex Newport (At the Drive In, Mars Volta, Melvins) and released in May 2002 to critical acclaim. While losing a good part of their original fan base due to the departure of aggression, this was a new band with the same name. With the release, a new fan base was established proving that the band made the right decision to explore their more experimental side. Codeseven toured incessantly on the release with such notable acts as Coheed and Cambria, Dredg, Poison the Well, and Hopesfall. The band had also made new fans with the likes of Deftones, Finch, and Year of the Rabbit.
Codeseven spent the better part of the 2004 writing their Equal Vision Records debut Dancing Echoes / Dead Sounds. The guys entered the studio in June 2004 to record with producer Michael Birnbaum (Coheed and Cambria, Straylight Run) in Woodstock, NY. The band’s newest offering builds on their previous works, but sees the band expanding their vision in a darker and more electronic manner. Dancing Echoes / Dead Sounds is a portrait of a band that is unafraid to take their art in a direction that is rarely explored by their peers. Codeseven has always expanded the boundaries and been ahead of their time. Dancing Echoes / Dead Sounds will likely be the blueprint to which all other bands are compared over the coming years.