Datacide 12 record reviews by Nemeton

Ritalin War Dance / Neurosis Orchestra – SPB12020
The a-side is two tracks by Ritalin War Dance (Robert Schirmer and Martin Maischein aka Goner aka Heinrich at Hart). A2 Eye Flys resonates with a mixture of dub and experimental noises and distortion that creates an impressive dark feeling. The b-side by Neurosis Orchestra opens with Lucid Dreams that is dominated by dark guitar riffs and dub influenced doom ambiences. B2 Trap is the beat oriented track (140 bpm) with an enticing groove, distorted synth lines interlaced with some heavy bass. All the tracks, including a1 Hypertonic Solutions, are a physical journey of beats and moody ambiences that demonstrate thoughtful and well developed structures. Recommended! [Read more →]

Datacide 12 record reviews by Kovert

Anonymous Series Vol.2- Praxis 45
The second of three volumes of anonymous broken noise that forces the listener/user to experience sound without any judgments about names/egos. Tracks range from the melancholic detuned synthetic strings, bass-quakes and cut-up broken tek beats of A1, to the snarling distorted mid, industrial dubstep riddim, cone-rattling subs and twisted, mangled double speed breaks of A2, to the spacious atmospheres and more
tek orientated broken beats of B1, to the strange b-movie atmospheres and lofi breaks of B2. Essential tools and limited to 300 copies. [Read more →]

Datacide 12 record reviews by Zombieflesheater

Brandon Spivey & Coexsystems – Sound Extremism / Kali Yuga
It looks like in 2012 we hear an acid comeback and this transparent, limited seven inch on Audio Riots, a new german label, fits in. The A side from Brandon Spivey, who released several acid hardcore 12″s under different names in the nineties, and a 12″ on Phase Distortion Records recently, brings a stomping hardcore track and a nervous acidline reminiscent of some of the tracks he made as Agro on Epsilon Records in 95/96. The only strange part in this track is the vocal sample throughout which sounds a bit displaced but its just a little drawback, its a good track after all. The B side is the real hit on this one. Coexsystems, who is a producer from germany, made a fast forward pushing track with a classical build up, including breakdowns that just play the relentless acidline alone in order to bring up the tension, and that is what makes the track come alive. The tracks are around the 4 and 5 minutes marks so they could have been a bit longer for the full effect, but it is still a good acid-core vinyl after all. [Read more →]

An Interview with Slepcy (2001)

An interview of Polish breakcore masters Slepcy by stevvi, originally conducted in May 2001 (and if I remember right published online on c8), published in Datacide Eight in 2002 in print, and reposted by stevvi on the c8 forum. Unfortunately their discography only extends to a handful of releases, but particularly “Absent Opera” on Kool.POP remains an outstanding example of the experimental approach and depth of breakcore ca. 2000.  [Read more →]

Datacide Twelve – Introduction

 

 

The precursor to datacide is the magazine titled Alien Underground, which appeared with two issues in 1994/95. In the first issue of Alien Underground, there is a manifesto-like text signed “praxis nov. 1994” titled “Nothing Essential Happens in the Absence of Noise”. It describes “Techno” as a subversive agent that shook up cultural production, whether corporate or independent. “The industry then got the fear (…) because the principle of its organisation > the top to bottom one way transmission > got short circuited, & there was no transmitter or receiver, only a mixer & rooms full of people + noise. (…) a zone populated by savages seeking forbidden pleasures in a wasteland (…) uncontrollable and incomprehensible for teacher, cops, parents, the industry & media.” The backlash was not long to follow: “Formula were created & market research employed, documentaries were made, and laws drafted. It all needed to be brought back into the world of the spectacle, made safe for mass consumption; faces appeared, and like in a demonstration of power, talentless DJ’s were made superstars.” What we saw as raw and subversive was “streamlined for mass-brainwashing & pacification” in the form of “Nazi-Trance and Audio-Valium”. Still there was optimism: “But techno is always mutating, (…) always moving into different directions, & the time is now that transformations are under way that will lead to new places, eruptions, excess… In a situation where most of the supposedly underground parties are playing the same shit as everywhere else, where sponsorship deals + big money have moved in, a new resistance is emerging slowly>>>”.

This was also the moment when TechNET appeared. [Read more →]

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