The majority of Drexciya’s releases were in the style of harsh, dancefloor oriented Electro, punctuated with elements of retro, 1980s detroit techno, with occasional excursions into the Ambient and Industrial genres. Drexciya combined a faceless, underground, anti-mainstream media stance with mythological, sci-fi narratives, to help heighten the dramatic effect of their music. In this respect they were similar to artists within and close to the Detroit collective Underground Resistance. Their name referred to a myth comparable to Plato’s myth of Atlantis, which the group revealed in the sleeve notes to their 1997 album “The Quest”. “Drexciya” was an underwater country populated by the unborn children of pregnant African women thrown off of slave ships that had adapted to breathe underwater in their mother’s wombs. Reports of Drexciya’s disbanding in 1997 were contradicted two years later when a new Drexciya track appeared on the Underground Resistance compilation Interstellar Fugitives, followed by three more Drexciya albums. It appears that these were the solo work of Stinson.[citation needed] Both he and gerald donald continued to be prolific in their respective side projects. Although both members of Drexciya remained completely anonymous throughout their active recording career, james stinson, was identified posthumously in 2002. The members of Drexciya have never been photographed, although they have given interviews, throughout one of which they wore Star Trek masks to conceal their identity! |
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