The Fax Datacide is a little rougher sounding than either Flowerhead or Ondas, there's even a 303 acid riff and 4otF rhythm during Head Dance. But as for the rest of it: ranges from thickly layered patterns of quasi-chaotic note loops cleverly worked into catchy melodies to contemplative moments of waaay out spaceliness. Except for track 1, all the songs blend into each other. The unpredictable whistle from 60's Out of Tune first appeared here on Meditation Bank, although slightly altered and surrounded by completely different elements then those of 60's OoT. Acid Magic has become one of my favorite Datacide tracks... wierd bulbous drones and a muted 303. Perfect for any post-rave prestidigitation. Datacide II has a nice fractal on the cover, which couldn't be more appropriate. Data Haiku, also on the Cookbook/FaxComp, ends the album and is the most mellow track. Polyrhythmic Textures. This is futuristic lo-fi.
(review by [email protected])
A collaboration between two of Fax's most prolific artists, and a very hard-to-find release indeed. This may be explained partly by its 500 limitation, and partly by the fact that it-s so damn great...
Ambient Head is a nice introduction, a shimmering slice of chill with a disjointed light rhythm, giving way to a subtle melody and bass drums towards the end. Meditation Bank continues in a similar vein, slightly more melody-driven than the opener, but certainly doesn't prepare you for the shock of what comes next.
Head Dance is a dance for more than just the head, an unexpected, no-nonsense 4/4 workout with sinister synths, scattered tunes and what sounds like very heavily distorted speech. Automatic Composition #1 leads us back into somewhat calmer waters, beginning with more unusual rhythms and a sustained background wall of droning ambience, before developing slowly into perhaps the spaciest piece on the disc, complemented by a simple 4-note repeated refrain.
Acid Magic is an initially somewhat confusing title for the next track, being as it is slow and measured, with a further sprinkling of spacy sounds. However. there is then a 303-led end section, which gives the piece its title, and which gives way to the last track. Data Haiku makes for a pleasingly peaceful postscript piece, characterised by an ever-so-delicate chord, overlaid with single piano notes and the occasional snatch of melody.
The odd thing about this disc is that there's no obvious stand-out or highlight, but enough sustained brilliance to keep you listening right to the end, which is rare indeed, and maybe in the end that's why it's such a highly-prized release.
Rating - 9/10 - delightful.
(review by Martin Jones)
Another early Fax disc with something of a mythical reputation. Although I am happy to report that in this case, at least in musical terms, the reputation is warranted.
The music on display here is very organic in nature. I can certainly hear elements of later Tetsu albums such as Zenith and Ambiant Otaku in some of the tracks. The music is at the same time melodic and slightly abstract. Familiar and yet slightly at an angle to a recognised reality. As a result, although written mainly in '93 the album still sounds fresh and unique after nearly nine years. Unexpected twists like the little screech near the beginning of Ambient Head that despite familiarity always mange to catch me unawares.
Of the six tracks, all are outstanding, although Meditation Bank is undoubtedly my favourite, a particularly dark and groovy little number that gives the impression that it might explode into something altogether more uptempo, but in retaining its slowly morphing, pulsating bass, ever so feint percussion and beautiful shards of melody it remains much more interesting and utterly hypnotic.
Head Dance is another fantastic track that combines traditional 303 acid elements and a melodic lead line with some more abstract electronica. Again very hypnotic.
It is a shame that this album is at present so hard to find and commands such high prices among collectors as it is a magical album that every Fax collector should hear.
(review by Richard Hughes)