Artwork impressed by the Drexciyan mythos, as supplied by the artist from his ebook 1989–2014: 25 Years of Techno Artwork. [credit: Abu Qadim Haqq ]
“ARE DREXCIYANS WATER-BREATHING, AQUATICALLY MUTATED DESCENDANTS OF THOSE UNFORTUNATE VICTIMS OF HUMAN GREED? … DID THEY MIGRATE FROM THE GULF OF MEXICO TO THE MISSISSIPPI RIVER BASIN AND ON TO THE GREAT LAKES OF MICHIGAN? DO THEY WALK AMONG US? ARE THEY MORE ADVANCED THAN US, AND WHY DO THEY MAKE THEIR STRANGE MUSIC? WHAT IS THEIR QUEST?”
With these all-caps phrases, musician and author James Stinson wrote the structure for the mythic, rhythmic nation of Drexciya—a world that he and associate Gerald Donald created within the liner notes of their experimental music mission. Their mixed work, within the type of 5 EPs of cutting-edge techno music, didn’t essentially sound so politically or culturally charged. As a result of Stinson and Donald didn’t take part in interviews or broadly tour in assist of their albums, Drexciya’s listeners have been left to take a look at the tales and questions that lined the liner notes and paintings printed on the releases’ vinyl and CD variations.
Do you have to merely pull up Drexciya in your favourite streaming service, you will not hear these messages within the beats. So to know this modern group, it is essential to ask the above questions concerning the fictional Drexciyan quest. And in asking them, Stinson blurred a line between fiction and Black actuality—and spoke to a quest of his personal.
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