The singles Esctacy Of Communication (Pod, 1993) and Head Dance (Fax, 1993) and the albums Datacide (Pod, 1993) and 2 (Fax, 1993) were the first cooperations with Atom Heart under the moniker Datacide. The duo experimented with a noise-based form of ambient music that sounded like organic matter slowly developing into an embryo.

Those experiments led to a milestone of modern electronic music, Flowerhead (Rather Interesting, 1994 - Asphodel, 1996), a collection of soothing pieces that mutate slowly and assume a thousand personas. The foundation of Flashback Signal is an electronic flutter not unlike Terry Riley's Rainbow In Curved Air but wrapped in microwaves and thrown beyond the Milk Way. Eventually a gothic undercurrent appears, with voices masked in galactic jelly; then warped signals that sound like a forest of clocks; and finally the sonic organism acquires a deep dub reverb.
A frantic beat and world-music chanting briefly introduces Flowerhead, before the piece dissolves into distorted fragments of supermarket and circus music (vaguely reminiscent of the Beatles' Yesterday) over a swampy funk-jazz rhythm.
In Deep Chair a shower of majestic melodic lines accompanies children at play, thereby creating a sense of nostalgy and sadness. Then the sounds coalesce and yield an Indian raga and eventually the children reappear from the trancey fog.
In So Much Light ghostly electronics fluctuates over a pounding, tribal rhythm and it is the metamorphoses of the electronic percussions that lend the piece its dark, hellish feeling.
The album closes with an upbeat fugue, reminiscent of slot machines and videogames, amid powerful dub syncopation: Sixties Out of Tune.

In the meantime, a collaboration with Peter Namlook had yielded Orion I and II (Fax, 1993 and 1994) and three albums titled 2350 Broadway (Fax, 1993, 1994 and 1995). This was, unfortunately, an experience that would haunt Inoue's career, providing the inspiration for his least original music.

In at least one case, though, the result was mesmerizing: Ambiant Otaku (Fax, 1994). The five tracks (Karmic Light, Law of Vibration, Ambiant Otaku, Holy Dance, Magnetic Field) make up for one of Inoue's best performances in ambient music.

A bit too sugary and uneventful, Electro Harmonix (Fax, 1994), a collaboration with Jonah Sharp, Organic Cloud (Fax, 1994) and Slow & Low (Fax, 1995), sound still heavily influenced by Namlook's static music.

Zenith (Fax, 1994) is a collaboration with percussionist Carlos Vivanco, and at least the 15-minute Plexus Solaris achieves an intriguing trance. On the other hand, Cymatic Scan (Fax, 1995) is a (no less self-indulgent) collaboration with Bill Laswell.

Schmidt and Inoue also recorded under the moniker Masters Of Psychedelic Ambiance the album MU (Rather Interesting, 1995), which, surprisingly, is made of many short vignettes.
Tracks: Start Smart, Artificial Countryside, Lotus, Tonic Scanner, Sequence Gardening, DAT Prayer, Chi Filter, Coming Down, Infinite Oscillator, Plastify, Holycore, Psychic Magic Show, Weirdom, Technicolor, Random Radio, Ethnic OVertone, Instant Spirit, Backward Journey, Magic Display, Flash Up, Funny Concept, Noisetalgic Vibe, Rather Sleep than Dance, Private Brain Session, Internal Effect, Baby I'm Home, Mu.

Schimdt, Inoue and Bill Laswell launched the project Second Nature (Fax, 1995) with four soundscapes for electronics and natural sounds. In particular, Synthetic Forest, Artificial Seaside and Green Paste are impressionistic tours de force, that fade out in the "adagio" of Landing Circle.

World Receiver (Instinct, 1996) collects gentle, soothing, new age-ish pieces created by filtering and fusing found sounds and electronic keyboards.
Tracks: Inter Link, Health Loop, Elevator Drops, Background Story, Invitable Colour, Mood Swing, Smile.

The fourth Datacide album, Ondas (Rather Interesting, 1997), is "a stereophonic recording using total separation", i.e. it is two (synchronized) albums in one, each one playing in a different channel. Surprisingly, Inoue and Schmidt chose to toy with a form of easy listening for androids, a sort of psychedelic lounge music set in a distant future and a distant planet.
Tracks: Ondas, Stereo Kiss, Holy Microwave, Good Vibe, Onsurf, Eternal Frequency.

The mediocre, static and predictable Psycho Acoustic (Tzadik, 1998), Fragment Of Dots (Tzadik, 1999)

Waterloo Terminal (Caipirinha, 1999) was composed by Tetsu in collaboration with London's Waterloo station. Tetsu scanned thousands photographs of the station into his computer and translated the architectural forms of the structure into electronic sounds. The idea was to let the station play.

Active/Freeze (12k, 2000) is an album of micro (or "glitch") music in collaboration with Taylor Deupree and Firld Tracker (Anomalous, 2001) is an album of computer music in collaboration with Andrew Deutsch.

The EP Object And Organic Code (Institute For Electronic Arts, 2001) collects music composed for the Rockefeller Foundation and, again, employs the computer to re-structure sounds in an icy digital format. Field Tracker (Anomalous, 2001) is a collaboration with Andrew Deutsch.

Pict Soul (Cycling, 2002) is a collaboration with avantgarde composer Carl Stone, and one of his most unusual recordings.

DSP HOliday (Otodisc, 2003), credited to Hat, is a collaboration with Atom Heart Mother (Uwe Schmidt) and Haruomi Hosono.

Yolo (Din, 2005) offers ambient music for field recordings and studio manipulations.

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