When I See The Sun

Label: Numero Group
Release Date: 21st May 2012
Deluxe 6LP and 3CD box set
26-May London
ATP I'll be Your Mirror
at Alexandra Palace
01-Jun Barcelona
ATP @ Primavera Sound
08-Jun Porto
ATP @ Primavera Sound
Frigid Stars
(originally released in 1991) 
A1. D
A2. Gravel Bed
A3. Pick Up Song
A4. 3 Angels
A5. New Year’s
B1. Second Chance
B2. Cave-In
B3. Cigarette Machine
B4. Old Things
B5. Pea
C1 Castle (SOS Demo)
C2 Skeletons (SOS Demo)
C3 Three Angels (SOS Demo)
C4 Corner Store (SOS Demo)
C5 Summer Dresses (SOS Demo)
D1 Pea (Acoustic)
D2 Second Chance (Demo)
D3 Pickup Song (Demo)
D4 Cave-In (Demo)
D5 Kitchen (SOS Demo)
Barely Real
(originally released in 1992)
A1. Realize
A2. Jr
A3. Barely Real
B1. Hard To Find
B2. W.
B3. Promise Of Love
C1 JR (Dessau Demo)
C2 Hydroplane (Live)
C3 Wird (Dessau Demo)
C4 I Wonder (Dessau Demo)
D1 Tom (Dessau Demo)
D2 A l’Ombre de Nous
D3 Cracked in Two
D4 Realize (Alternate take)
D5 Broken-Hearted Wine
The White Birch
(originally released in 1994) 
A1. Sea
A2. Loss Leader
A3. Vacancy
A4. Kitchen Light
A5. Washed Up
B1. Tom
B2. Ides
B3. Wird
B4. Smoking Room
C1 Median (Peel Session)
C2 Loss Leader (Peel Session)
C3 Sure Looks That Way (Peel Session)
C4 D (Live)
D1 Atmosphere
D2 Something New
D3 Ides (Demo)
D4 Smoking Room (Demo)

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When I See The Sun
Legendary slowcore progenitors Sub Pop albums reissued individually as deluxe 2LP+CD or limited edition box set on 21st May 2012 via Numero

Codeine perform at ATP: I'll Be Your Mirror
on 26th May

'Quiet never seemed so loud...." Mojo
From 1990-1994, New York City’s Codeine were making somnambulant waves on a musical landscape reeling from Sub Pop’s better known exports. 1991’s Frigid Stars LP, 1992’s Barely Real, and 1994’s The White Birch received much critical praise upon release, but Codeine dissolved before any of that hype would carry Low, Bedhead, and the Red House Painters to international acclaim.
All three albums will be subjected to Numero’s notoriously elaborate packaging and detailed liner notes, including essays by Sub Pop’s Jonathan Poneman, Love Child’s Alan Licht, and the Flaming Lips’ Wayne Coyne and Steven Drozd.
The albums have been faithfully restored from the original masters, and are accompanied by a plethora of singles, demos, live recordings, and Peel sessions. Each album will be packaged as a double album with a CD of the same material. Additionally, an ultra deluxe box set of all three albums will be available in a limited edition of 1000 copies.
Complete liner notes and download of all three albums available upon request.
Codeine's original line up of Stephen Immerwahr, John Engle, and Chris Brokaw will be reuniting for a handful of dates in the US and Europe. The first of these dates will take place on the weekend of May 25-27 when All Tomorrow's Parties takes over the Alexandra Palace.
The band will also be playing the ATP Stage at Primavera Sound Festival on 1st June (Barcelona) and 8th June (Porto).

"I remember at the very beginning Steve telling me about the ideal Codeine rehearsal. It involved hung-over musicians trying to avoid worsening their hangover. Slow and easy was the key. Listeners’ first-blush responses to Codeine often hinged on the remarkably slow tempos, but I always thought that the various approaches to representing abjection (words and music) made for Codeine’s most moving music." David Grubbs (Gastr Del Sol)
"I really recoil from the whole slowcore shit, the idea that they were leaders of some kind of made-up movement; it reeks of a critical contrivance. I appreciate the difference in the context of the times they came from. But that was never the reason to appreciate this band, because they could perform at a different tempo. Codeine’s music is understated, elegant, forceful and beautiful. There were clever compositional elements but they weren’t a self-conscious band. Theirs was a genuine emotional expression. Sure, all their songs sound the same—like it’s all one song—but it’s a great song." Jonathan Poneman (Sub Pop)
"I saw them at CBGBs around the release of Frigid Stars. And of course people compared them to Galaxie 500, but I think they were very much doing their own thing. Yes, they played slow and they were a trio. But Codeine were stark, minimalist, controlled; we were wild by comparison." Dean Wareham (Galaxie 500)
"If there was one thing I could interject into the conversation on Codeine, it would be to contextualize their towering originality. We are all aware that rock and roll is beat repetitive. It is a switch that is permanently on. But imagine holding up one’s hand against this beat. Codeine goes beyond the concept of playing slowly." Lois Maffeo 
"Codeine reminded me a bit of the English “cold wave” things I liked in high school, but heavier. They were also loud as shit, with lots of space in the music, but still heavy. It’s rare that a band demands attention and focus from an audience, most bands are kind of spazzy and afraid that if they don’t give the audience something new to pay attention to every five seconds then they’ll lose them. I was envious they could do that; I’ve never had the patience or ability to slow stuff down and write music that unfolds like that." Mac MacCaughn (Superchuck)
Majestic, cinematic music. A lot of drama. I hate to be the one to say it, but, not all that slow. Codeine was more about space than time. Space exploration. I get lost in the songs very quickly; the landscape, the weather. The weird part is the intimacy. It is some very aggressive shit to be doing that live. It is decidedly cold and jarring, yet personal and perversely comforting, relaxing, and warm. Along with all time extremes in the quiet/loud department, they brought this sort of clean, ordered, thoughtful chaos to my distraught musical world. Maybe I was just tired of people screaming at me. I thought for a while they were from the midwest or at least DC. Somewhere where people had time to think. But, now I see that this is too art damaged to be from anywhere but New York."  Tim Foljahn (Two Dollar Guitar/ Cat Power) 
"The only bad thing about opening for Codeine was that five minutes into their set, everyone had forgotten we even played. On the rare occasion we had to follow them, I felt like our songs were suddenly hopelessly normal. Their music was devastating and always elicited a strong emotional response out of me. A couple of times at sound check we actually got to see them play fast songs; it was evident that all three of them were world-class musicians. That they could stay in the pocket playing so slowly and with so many open spaces always blew me away. They had awesome precision and dynamics but it always seemed tempered by incredibly good taste."  Tripp Lampkins (Grifters) 
"With notes that had more hang time than a Ray Guy punt, a sense of economy that few of the bands they influenced have mimicked effectively, Codeine’s all-too-brief, filler- free tenure thoroughly deserves an exhaustive reassessment. And by that, I mean sinking into their complete recorded works from front- to-back, not sampling three-minutes-plus of a stream hosted by someone who actually believes there’s a genre called “slowcore” (there isn’t). These gents pulled the plug at the top of their game, leaving behind a body of work that can still stop you dead in your tracks in 2012 just as easily as 1990."  Gerard Cosloy (Homestead/ Matador)
"They played glacially, tearing a sound that killed, again and again. When those distortion pedals were deployed, it was fuzz heaven."  Bob Fay (Sebadoh)
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