Internal drowned worlds of Drexciya’s aquatopia

“..unremittingly alien explorations into what they call aquatic assault programming. Instead of emulating orchestras or choirs, they use the synthesizer as a sonic weapon…

By inventing another outcome for the Middle Passage, this sonic fiction opens a bifurcation in time which alters the present by feeding back through its audience – you, the landlocked mutant descendent of the Slave Trade. The sustained cruelty of Drexciya’s project is not so much justified as it is distributed and intensified. If the dominant strain in Afrodiasporic pop culture stresses the human, the soul, then the post-soul, post-human tendency Drexciya belong to rejects the human species by indentifying with the alien.

…Aquatopias cradle and lull you into a deep end of placid angles. …Drexciya paves over this underwater paradise, requisitions the Bermuda Triangle for a fifth theatre of war. Modern science knows more about the Red Planet than the abyssal plains of the deep sea. Therefore, these unknown depths are the appropriate environment for concepts secreted deep in track subtitles, impressed in the vinyl, hidden notions you have to dive for.”

Full article: ‘Drexciya: Fear Of A Wet Planet’ – Kodwo Eshun in The Wire

See also interview with Drexciya:

 

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autodespair

@autodespair

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