Wednesday, January 12, 2022

Dopplereffekt's Calabi Yau Space reissue, Arpanet's Hydrostatic Equilibrium EP and more

WeMe Records are reissuing Dopplereffekt's Calabi Yau Space album on vinyl. There is a special limited edition silver double vinyl from this link only. Black vinyl edition is also now available to pre-order from most online shops including Clone. It will be available to ship about 11th Feb 2022. This has not been available since 2007 and was originally released on Rephlex Records. In 2020 WeMe reissued Dopplereffekt's Linear Accelerator in a similar way. Great to see this album available again for new and old fans.

Arpanet will play a live show on Fri 8th April 2022 at Liverpool's very cool IWF Substation venue (Invisible Wind Factory). 

If you prefer getting your music from Bandcamp, the new Arpanet 12" from 30D Records is now available there on vinyl and digital. Available from most online shops too, press info below...

'Arpanet needs no introduction for those who know. Hydrostatic Equilibrium EP is a reissue of the 2 tracks released by 30D Records from the Detroit artist back in 2018 (cat# 30D-006), now presented together in a special limited edition single sided 12" vinyl. The EP includes the original tracks Supernova Remnant and Main Sequence Star, being the only two tracks produced by Arpanet since 2006.

Presented with a new artwork, designed by Arpanet himself, and this time on 30D Records sub label ExoPlanets, Hydrostatic Equilibrium EP becomes an instant collectors must have, especially after the quick sell out that followed the 2018 release and the numerous reissue requests received since then.'

One of my readers tipped me off about this excellent interview with Helena Hauff for OpenLab (Escape Pods hosted by Ralph Lawson & Ben Randm). She selects some incredible tracks for her journey through space including Transllusion's 'Bump It', which sparked an hilarious conversation about high pitched alien voices. This section starts about 49min but you will definitely want to listen to the whole thing, recommended.

DJ Bone tells some Drexciya stories on this radio show he made: Mutated Machines - A Journey Through Detroit Techno. Starts at 9 min, but the whole show is worth a listen.

If Drexciya were fans of Star Trek it's quite likely they enjoyed  Seaquest DSV (Deep-submergence vehicle), an underwater sci-fi show from the US which ran from 1993-'96 (the period of The Quest compilation). This video compiles the intro to all three seasons and some of the lines are very Drexciyan indeed. 

'The series follows the adventures of the high-tech submarine seaQuest DSV 4600, a deep submergence vehicle operated by the United Earth Oceans Organization (UEO), a global coalition of up-world countries and undersea confederations, similar to the United Nations.'

"I never thought for one minute that Drexciya would inspire Afrofuturism. Me and James thought this one thing up about the slaves getting tossed overboard and having a baby underwater and never thought it would be the catalyst. So I learned to just keep my mouth shut and never tell people what the record really is about because sometimes our view is too dark. Other people took it and saw it another way. That was cool, we needed that, we needed them to do that because our shit was fucked up."

Mike Banks speaks a little about Drexciya (51 mins) in this panel interview from 2021 and sheds a bit more light on the collective nature of what has become their most well known and loved mythology. The whole interview is of course worth your time.

If you are interested in tracing and understanding the development of what has become the most well known and dominant mythology associated with Drexciya you will enjoy this link to a PDF of Kodwo Eshun's More Brilliant Than The Sun: Adventures in Sonic Fiction (1998). 

As many of you know, originally the 'pregnant African slaves thrown overboard' mythology was written only as a possible origin story by UR's The Unknown Writer (with input from Mike Banks and James Stinson) in the CD sleeve notes of The Quest in 1997. Mike Banks refers to it above and how its been embraced by so many others since then and become more of a collective mythology.  

On page 102 of the PDF (pg. 83 if you have a physical copy) you will find 'Liquid Dystopia'. For years this text was also one of the very few available about Drexciya online at Phinnweb and Global Darkness. 

With so little information about Drexciya and so few interviews, right up until the Storm Series really, these pieces in physical and online form of what Eshun called his sonic fiction would have been a major influence on other journalists and fans at the time. 

In 2017, Mike Rubin in Infinite Journey to Inner Space: The Legacy of Drexciya, talked to Eshun specifically about this subject and he explained his sonic fiction process in relation to Drexciya. This is something that fans have been doing ever since (including The Unknown Writer and of course myself). His full answers are worth reading (article linked in comments) but I thought this section gets to the core of it. 

“It was a world that was only being filled in partially, track by track, and you were doing a lot of that navigating, with the help of the music and the track titles. In a sense, to be a Drexciya fan was to build the mythos by yourself.”- Kodwo Eshun

This powerful and poetic mythology has given a key to so many people to understand (or misunderstand) Drexciya but most importantly to discover their music and then decide for themselves what it might be all about. 

Drexciya themselves did appear to settle their origin once and for all in the Grava 4 (2002) sleeve notes. 'Earth has finally discovered Utopia (Drexciya Home Universe).' I like to think this more deep space rather than deep sea origin still leaves space for interactions with African slaves thrown overboard from their underwater base on Earth but like Eshun, it's up to all of us to figure out how the narrative/sonic fiction fits, everyone will find their own meanings and do it differently.

Friday, November 19, 2021

Japanese Telecom's Virtual Geisha reissued, Arpanet live, Drexciya info and more


Clone Records' Aqualung label is reissuing Japanese Telecom's Virtual Geisha album from 2001. I have been calling this one of Gerald Donald's best albums for a long time now so this is major (its been out of press for about 20 years as first released on Gigolo Records).  They have already reissued the self-titled Japanese Telecom 12" from 1999. Right now it's only available on purple vinyl (limited to just 100 copies) but I assume it will be followed by a full release.  It will be available from 31st Jan 2022 but can be pre-ordered now on Bandcamp and the website here. Love the new cover too.

Very nice to see a new Arpanet date announced (the first in a long time). It's not until 1st Jan 2022 but in case anyone wants to plan a New Year's trip to Berlin I thought I'd mention it now. Hopefully more to follow. There is a Dopplereffekt live show too but that is not until April 2022 in Mexico.

Ghostly International have commissioned a brief history of Dopplereffekt and Gerald Donald by DeForrest Brown, Jr. 

This is a new 2 our mix curated by Dopplereffekt for DUSK. 

This is an excellent new Drexciya and Detroit vinyl mix. There is a great video where you can see how it's all done.

I love this video from SPIN - Beershop & Records' Drexciya Day event. It's great just see people playing their records and socialising again. These Italian fans have supported Drexciya Day every year since it began in 2017. 

One of my eagle eyed readers noticed Drexciya listed for a London New Year's Eve event in 2000 (cutting from Muzik). I assume they never played but I guess the rest did. It was quite a line-up. They would have been on Tresor by now (Neptune's Lair came out the year before) but it looks like there was a plan to have them over as part of this UR showcase. 

"When it was time I started hooking up with friends trying different styles until one night I could not sleep, cold sweat, tossing and turning and around 3am September 18, 1989 I stood up and said Drexciya. It felt like a tidal wave rushing across my brain. All kinds of ideas were coming out. I could not stop it and I would not stop it. For the next three years we worked hard to perfect Drexciya before we would release it onto the world. Getting into production was not quick. It took a year of experimenting."

This James Stinson quote comes from Techno Tourist (Feb 2002) in a piece by John Osselaer. I've often wondered why he gave such a specific date for coming up with the name Drexciya and I'm not saying this is the reason at all but it's an interesting coincidence I think (I've previously speculated it connects to the release of the movie The Abyss).

I discovered that the issue of Time magazine that week (dated 11th Sept) ran a cover story on the drug problems in Detroit and in the wider US and how community groups were trying to solve it. The woman on the cover, Rantine McKesson, even lived in his part of the city (Seven Mile-Van Dyke on the east-side). It's quite possible he read it.

The article may well have nothing to do with his naming of Drexciya but at this link below you can read the story in full (pages 24-28) and at least get a picture of what it was like for him growing up at that time and why he might have wanted to create an alternate reality (he would have just turned 20). 

Sunday, October 17, 2021

New Dopplereffekt tracks, Drexciya Day, old stories and more

There are three new tracks up on Dopplereffekt's Bandcamp page since my last post here.

Tiga interviewed DJ Hell for his Last Party On Earth podcast and it's a real treat to hear some of the ins and outs and ups and downs of International DeeJay Gigolos. At 48min 30sec he tells a great story about going to Detroit and meeting Gerald Donald and proposing to license the first three Dopplereffekt releases as Gesamtkunswerk.

Clone Records boss Serge played an epic James Stinson tribute mix on the anniversary of his death. Available on You Tube and elsewhere online. 

There is a new long read by Christine Ochefu for Dweller about Lifestyles of the Laptop Cafe by The Other People Place. She also interviews Abu Qadim Haqq about it and more.

Until 31st October you can see Hydra Decapita by The Otolith Collective at Tate Britain (film was inspired by Drexciya).

Mixanthrope made a Drexciya Day 2021 mix here and you will find one from Edinburgh here. Search #drexciyaday2021 for what else happened. 

Rob Graff has made a really rather clever Gerald Donald timeline which covers 1995 up to today. 

Marc Teissier du Cros of Record Makers wrote this fascinating account of working with Gerald Donald. It was on the RM FB page and I've decided to archive it here as well. You can order Arpanet's two Record Maker albums here

 'In 1999 I started writing to Gerald Donald via email. His band Dopplereffekt had just released "Gesamtkunstwerk" the compilation of their first singles, and I got in touch in order to distribute it. Gerald was renowned for being hard to communicate with, I had no problem with that, I even enjoyed his cryptic messages a lot.

A couple of years later, I had just started Record Makers and suddenly I received a mysterious DAT tape which appeared to be from Gerald. His first solo album under the moniker Arpanet : "Wireless Internet". The music was mindblowing. I felt its addictive power instantly. My kind of record, definitely.

When you run a label, you better have a deal with the artist, otherwise you expose yourself to a lot of complexity. And before I sign a deal I like to meet in person.

Visiting Berlin, where Gerald was based back then, I proposed a date. Before we actually met, I had to follow his precise instructions, go to a special restaurant where I found the address of another cafe, where from I had to make a call to a phone booth, and so on. Wtf, is he a secret agent as well? Once in front of the man, I was impressed. He was strange, kind and passionate. We signed the deal, and the only picture that he allowed was us shaking hands.

It’s interesting that with the years "Wireless internet" has become the classic that it always was for me. You have to realize that in 2002 we had cellphones, but they were far from being as smart as they are nowadays. He had it all figured out, in Kraftwerk’s prophetic tradition.

Finally, after 20 years, the first Arpanet vinyl, "Wireless Internet", is now back in stock such as the next one, "Inertial Frame".

Find them at your local record store, or at


Sunday, August 01, 2021

Drexciya Day 2021, Arpanet re-press and more

EDIT: There will be a Drexciya Day event in Rome, Italy on 3rd September 2021.

I've just been contacted by the first fan wanting to organise a Drexciya Day this year so I guess it's time to remind people of what this is all about.

The 19th anniversary of James Stinson's death will be in about a months time, 3rd September. Since 2017 fans around the world have been celebrating his music on or around this date on what has become known as Drexciya Day. Due to COVID-19 last year there was only two physical events (Rome & Weimar) and no doubt this year will also be very different due to restrictions, so perhaps some people might want to organise online or radio events instead or get more creative. Whatever you do please stay safe!

As ever there is no pressure from DRL as this concept originally happened spontaneously from fans and I simply remind people about it and promote whatever anyone feels like doing that year.

So far over the last five years there have been events in Tallinn, Vienna, Cambridge, London, Dublin, Birmingham, Liverpool, Glasgow, Reykjavik, Grenoble, Rome, Manchester, Turin, Thessaloniki, Weimar and on radio (hope I didn't leave any out). There is no guarantee that the same people will do it again in these places, best to go ahead and organise it yourself if you want (as soon as I get confirmation of one I will post details here).

Search online for previous Drexciya Days to get ideas. If anyone wants to organise something please let me know and I will be very happy to share it. Email or contact me through the DRL FB page with an FB event link or whatever. Please use #drexciyaday2021 for your events. Thanks

France's TV Showw has made a rather remarkable Drexciya and Yellow Magic Orchestra mixtape. I've commented here before how they both have a lot in common and that YMO must have been an influence on both James Stinson and Gerald Donald. Elecktroids, Clarence, Dopplereffekt, Japanese Telecom and even JS phone interviews also turn up in the mix, obviously a lot of work went into this one.

This is a very fascinating new piece by John Eperjesi for Selector that connects Drexciya with Herman Melville's Moby Dick. It has useful Drexciya video links for those new to the band as well.

There is an exclusive new Heinrich Mueller track 'Plasma Field' on a limited boxset from Vinylograph. Available on Bandcamp here.

You can now pre-order both Wireless Internet (2LP & CD from 2002) and Inertial Frame (2LP & CD from 2006) by Arpanet at a brand new Bandcamp page. It must have been set up by Record Makers and will be very useful for those of you who prefer to get your music this way (all the tracks can be sampled or downloaded too). Physical copies will be ready to ship on 6th September. 

"We sold a lot of music to Europeans that we couldn't give away during the rest of the year...Tearing up bins like flesh, I actually filmed the bins, people grabbing titles. Drexciya, UR, Transmat, KMS, Metroplex. It was nuts." 

-Mike Huckaby (RIP) and many other Detroit luminaries remember Detroit Electronic Music Festival aka Movement 2001-2009.

Alex Wilcox is back with a brand new Drexciya breakdown video, this time for 'Species of the Pod' from Neptune's Lair

This is an excellent Drexciya long read I missed from 2016 by Patrick Langley.

I've never seen this press release for Lifestyles of the Laptop Cafe by The Other People Place before but it has probably been on Discogs for ages. It's actually from a four track promo 12" EP. It's very interesting to see the date of release, which by chance would turn out to be just eight days before the 9/11 attacks but even stranger is that it's exactly a year to the day before James Stinson's very tragic early death (he was about to turn 33).

This album was the start of what he called the Storm Series, seven albums (there would actually be eight in total) that would be released around the world in one year. As it turned out, the final album (Lab Rat XL) would be released on 27/10/03 (just under two years since the release of TOPP).

These promo copies of TOPP were available a month before in August. The opening typeface of the press release/info sheet looks like something Warp might have already used for Autechre. It's also made very clear this is a solo release and there are so many hints that it's something to do with Drexciya.

Wednesday, May 19, 2021

Dark Matter: A History of Afrofuture, BBC4, Black Assembly, Dopplereffekt and K1, The Quest poster and more

Along with many other artists, Drexciya are included in Dark Matter: A History of the Afrofuture on BBC4 on Sun 23rd May 9pm (details here). The series producer was in touch with a question back in January so I'm glad to see it's ready for broadcast. This is some high profile recognition, which I'm really looking forward to. 

'Told in four acts, Act 1, The Door of no Return, explores the collision of technology and blackness, focusing on the devastating and transformative experience of enslaved Africans during the Middle Passage across the Atlantic. Featuring enigmatic Detroit techno supremos Drexciya, along with visual artists Ellen Gallagher and Hew Locke, we see how each has taken the Atlantic Ocean – a site of violence, pain and loss – and through their work, imbued it with hope, beauty and new possibilities.'

Dopplereffekt and K1 (Keith Tucker) have collaborated on the Star Gazing EP on Puzzlebox Records. You can purchase and sample both tracks here.

You can now listen to all six of the shows Dopplereffekt curated for NTS recently at this handy link.

Drexciya's 'Black Sea' got the breakdown treatment from Attack magazine here.

I only recently found out that back in 2016 LA's Dublab had the mystery girl from Black Replica and a new producer partner (Carlos Hinojosa of Additiv) in for a live session and interview. They were using the name Black Assembly but I don't think they still exist. I did find one studio track, 'Time Stands Still', on their Soundcloud. Their section starts about 47 min and they play about five tracks and then there is a short interview. Cool to hear this and see the new pic too. The mystery only ever deepens with Black Replica!

There are currently 15 tracks up on the daughter Produkt Bandcamp. Keep an eye for new material there.

Mixmaster Morris recently created a new Drexciya themed mix here.

I found this photo of the rare promo poster for The Quest by Drexciya. It features text not included elsewhere, even on the CD booklet. I think it was up in UR's Somewhere In Detroit record store (might even still be there).

'A liquid product of years of toxic waste dumping in Detroit's Rouge River?

An aquatic cousin of the cell from hell?

Or an amoeba of society?

These and many other type of questions that 'You Don't Know' may become apparent in the forthcoming 28 track double CD 'The Quest'.

Also available on double vinyl are 9 tracks of Detroit's most vicious Drexciyan jams.

Both vinyl and CD feature unreleased underwater terror.

This is Drexciya's Final Transmission.’

It sounds like UR's The Unknown Writer coming up with more alternative theories about Drexciya. He would continue these questions of their origins in the CD booklet.

I've seen one of these posters just once before and it was signed by James Stinson. It hung in the offices of Dublin's D1 Recordings. Label boss Eamonn Doyle told me it was given to him while at the UR offices in 1997 and that James Stinson himself had been there and signed ‘Drexciya’ in large silver letters right in front of him. There were also three luminous green paint spots which look like thumbprints pressed into the bottom left hand corner, a kind of mark of a Drexciyan, which had already been placed there.

Tuesday, May 11, 2021

Open letter to fans and listeners of Drexciya from Andrea Clementson-Stinson

 I have been sent this message from Andrea Clementson-Stinson...

'Open letter to all fans and listeners of Drexciya:

We are writing to you to express our gratitude for your support through the years and to provide clarity. 

The concepts and ideas of Drexciya as you know came from a basement in Detroit, Michigan in the early 90’s. Some have attempted to take Drexciya's original concept and tried to make it their own or use it for their own agenda.  However we can no longer remain silent as we like you to know that no one person is capable of relaying or expanding on the myth/story of Drexciya other than its creators. 

Drexciya's music was never supposed to be associated with race or a race war. Techno and Electronic music brings all types of people from all world’s together. 

To those who seek to put a divide, we are asking you to stop/ cease and desist. Outside of the music there is no other  product under the name of Drexciya. This applies to comic books and any apparel baring the name Drexciya. 

James Stinson's legacy is his own and it is original to him. He did not sample nor steal or exploit anyone or any music. All he did was leave an expression of his inner outer emotions through his music and his world of Drexciya. 

The mystery of Drexciya will remain a mystery and  I have never and will never provide authority to anyone to reveal the mystery. It is the way the creator of Drexciya left it on September 2, 2002 there was no end, no matter how many try. There were two agents of Drexciya and if it does not come from the two agents then please know that it is not legitimate. 

To the record labels, UR, Clone, Tresor and Warp who have been supportive of Drexciya and both of their agents in life and in death, we want to thank you for assisting in keeping the music and legacy alive. 

“L.I.F.E = Life Is Fast Ending…… live!"'

You can read the recent article in Ars Technica this message partly refers to here.

Drexciya interview, Etronik (Oct 1999)

After literally years of searching online and asking the writer Richard Brophy about it more than once I can finally bring you the James Stinson interview from Ireland's now defunct Etronik, an online electronic music magazine. It dates from 29th October 1999 and focuses on their current album of the time Neptune's Lair. Richard Brophy interviewed James Stinson twice and his second interview dates from 2001 and can be read here. You can read the original Etronik text here on the always useful Wayback Machine (up to now it could not open the link for some unknown reason). I've added the quotes to my master post of all James Stinson's known quotes here. In 2017 Richard and I were in conversation about all things Drexciya at Dublin's Hugh Lane Gallery, audio here. I'd also like to thank him for allowing me to archive it here. 

Drexciya by Richard Brophy (Etronik #10 29th Oct 1999)   

Its been two years since we last heard from mysterious Detroit techno-electro outfit Drexciya. The Quest double album, released at the tail end of 1997 was their parting shot to an industry they clearly wanted no part of. Refusing to do interviews, have their photos taken or indulge in any part of the media circus, Drexciya believed that The Quest was the final chapter in a story which began when the act were spawned from African slaves brought to America hundreds of years ago. The act had found their own “Atlantean utopia”, and there they would rest for time immemorial.

However, in true renegade fashion, the act has returned, with a new album, Neptune’s Lair on the German Tresor label. Surfing effortlessly between experimental gurgles, gritty G-funk, clinical electro and classic Detroit dancefloor depth, Lair stands tall, proud and polished above all the second-rate electronic muck currently clamouring for our attention. It’s a bold, adventurous and clinically futuristic return to form from Motor City’s original purveyors of hi-tech funk.

Strangely, a ‘spokesperson’ for the group admits that the healthy state of modern music that has heralded their return. “The music scene has started to pick up again,” he confirms. “There’s some really good ‘pieces of music’ out there at the moment, stuff we’ve heard in clubs or on the radio that has impressed us and made us go wow! We always hoped people would listen to Drexciya and become influenced to make their own music, and now it’s happening. We try and keep away from everyone else in Detroit, avoid picking up on other people’s energies and do our own thing. At the same time, we’ve come to realise that we’re all into this, we’re one big family. Drexciya are as guilty as anyone of putting people down back in the day. Now we try and encourage people to do what they do best.”

It sounds like Drexciya have mellowed out considerably in their old age. That they even consented to be interviewed, albeit without any names or photographs, shows signs that they’ve dropped their guard slightly, and a willingness to even mention the ‘D’ word further proves that they’ve shed their legendary reticence. So, what do they make about all this so-called nu-electro?

"The music we make is electro,” answers the spokesperson. “Others tried to make it because it was deemed ‘hot’, but electro comes in so many different flavours." he continues. “Electronic music, whatever you want to call it needs this kind of music to give it variety, instead of just hearing a 4/4 beat, instead of just having potatoes, we’re saying why not have a steak as well?

In their absence, the rest of the underground finally caught up with the act. Producers who swore by house and techno doctrines started making electro, and the sound has permeated into and become an integral part of other genres, witness its influence on the nu-breaks scene. More a development on their existing game plan than the creation of a whole new rulebook, Neptune’s Lair is still puts the original breakers way ahead of the opposition. So did it take the full two years to make?

”Yeah, it took two years on and off to make it,” comes the reply. “Some of the tracks were old, and there’s a track on the album called ‘Draining Of the Tanks’, which represents Drexciya shedding our old ideas and injecting new sounds and experiments. That’s the whole foundation of what we do: making things people don’t think will work work. We also had some personal stuff we had to deal with, but the album was done at our pace. In the future we’re going to be more steady with our releases instead of taking long breaks. There is a reason why the album took so long which we’ll reveal at a later date. As always, we’re gonna go with the water, whatever way the tide flows. It’s the way we work, but we certainly ain’t gonna be cranking out a record every month.”

The mention of water and the tides brings us neatly onto that other Drexciya topic, their fascination with water, mythology and tracing their heritage back to some long lost water bound race. All Drexciya releases including the artwork, sleeves and track titles – Neptune’s Lair boasts gems like ‘Oxyplasmic Gyration Beam’ and ‘Quantum Hydrodynamics’ - refer to the act’s background and their struggle in an ongoing struggle against an unknown enemy. Do they still believe they are “Drexciyan Warriors”?

"It’s just an ongoing situation, we’re just trying to bring a new perspective to our music," the spokesperson somewhat cryptically offers. “It’s not radical or political, more of a history lesson, and the whole fantasy goes with it. The intelligent listener will weed out the real meanings though. Our music works on the same principle. We’re trying to give something to all our listeners, that’s why we chose not to put any vocals on the album, to let the music give people the vibes. Think about it, humans don’t even use half their brainpower, let’s see where we can bring them. Who knows, if you keep on knocking on our door you might even develop telepathic powers! We’re all about making people happy through our music, and not painting ourselves into one corner. We want to remain as free as the water and the wind.”

More than the sometimes goofy talk about their relationship with the ocean, it’s this independent, underground spirit that’s central to Drexciya. Still holding down regular day jobs so they can retain 100% control of their music, the act still equate the lure of the big buck with a cessation of all creativity. Let’s pass the mic to their spokesperson for the final word.

"It's never been about the money,” he confirms. “We could have signed a deal with Sony no problem, but that’s not the foundation or priority with us. Sure, you need funds to keep operations going, but even if you have money you still have to stay on ground level. If you believe that the money makes you, then you’re in big trouble. There are things we do that make us money, our jobs, but that helps us stay ahead, remaining at the cutting edge. We have very high standards, and are never satisfied with our music. We’re always trying to come up with something new, we’re never content with what we do. The day that happens is the day we all die."

Tuesday, April 06, 2021

Japanese Telecom, Grava 4 and Black Replica reissues and more

Heinrich Mueller's debut self titled 12" EP/mini album as Japanese Telecom is to be reissued and remastered for the first time since 1999 on Clone Records' Aqualung label (in fact there was a very limited re-press in 2007). As you can see it comes with new artwork. It first came out on Detroit's Intuit Solar on both vinyl and CD and contained seven tracks. Hopefully this means the other release under this name, Virtual Geisha (2001), will be next!  It's available for pre-order from Clone now and will be available from about 4th June. 

Drexciya's Grava 4 is also due to be reissued again on vinyl, available from usual outlets from 7th May on Clone Aqualung.

Dopplereffekt curate a day (20/4/21)  on NTS Radio. Details here (all six hours archived here, or search NTS' website).

Metaphysik have a limited re-press of the Black Replica album on vinyl and for the first time on cassette. Check their Bandcamp and Big Cartel sites.

There is now an official Soundcloud page for Daughter Produkt. There are 11 tracks there now with 13 on their Bandcamp. 

Roland have included Drexciya's 'Rublick's Cube' in their 'Sound Behind The Song' series. 

You will find the Transllusion releases on a new Tresor Bandcamp.

There is a book in Spanish on Drexciya. You can order it here.

I made a new DRL themed mix for London's Morley Radio, archived here.

I've decided to archive a post (1/3/21) from the DRL FB page to make my feelings known about the article by S. David on Ars Technica (which has yet to be corrected). Since writing it the thought occurred to me that just before he died James Stinson himself settled the matter of the Drexciyan origins in the artwork of Grava 4 (in the CD booklet only) and clearly states that the Drexciya Home Universe lies in space. 

"Drexciya live in two different worlds, what Drexciya does and what UR asks it to do on certain missions"  -James Stinson talking with Tsutomu Noda for Ele-King for Straight No Chaser in 1999

By sharing this new piece by S. David about Drexciya I want to point out that I don't agree with his assessment of Clone Records. I personally think their presentation of Drexciya's music from 1992-1997 in the Journey of the Deep Sea Dweller series is in line with the mystery surrounding those original 12" EPs as they first appeared but this is a community and we are all free to hold our own points of view. 

I would also like to point out that the author makes the mistake of accrediting UR's The Unknown Writer aka Cornelius Harris' sleeve notes from The Quest (1997), only found on the CD, to James Stinson. These sleeve notes of course are the bedrock on which the whole edifice of Drexciya as 'offspring of pregnant African slaves' comes from, which S. David thinks Clone should have referenced in the packaging of Journey of the Deep Sea Dweller

This is an issue that comes up time and again in journalism about them and I totally understand why. I've written about this here before a few times. I love Harris' poetic and very compelling interpretation of where Drexciya come from and it's no wonder this is the version that has been most widely embraced and known around the world. However, if you read his text closely he is careful to pose his words as questions/possibilities only. Drexciya were over about late '95 due to Stinson's health but unexpectedly returned in 1999. I would imagine James saw The Quest sleeve notes and map artwork and was consulted by UR/Submerge about it and approved (we don't as fans know this for sure).

Like any great piece of art, I believe Drexciya's music has been left open to be interpreted in any number of different ways. Perhaps I am wrong, I did not know him personally of course. In all of James' eleven interviews I've archived he has never commented on The Quest sleeve notes or talked in those terms and in fact only directly mentioned slavery once in a different context. He has been vocal about the exploitation of Black culture which S. David rightly brings up and I think his piece raises some very important points in general. Gerald Donald has similarly never talked about the origins of Drexciya. Even Abdul Haqq has acknowledged this in the past, "What's funny is most people don't realize that Drexciya themselves didn't write the most famous story (myth, legend) that they are known for! It was the Unknown Writer!" (in an interview with DRL in 2008).

Clone I believe are essentially just like all of us, fans of James Stinson's music and have been doing a brilliant job keeping it alive and available for new generations of fans. I can only assume they continue to work with the blessing of James Stinson's Estate (his wife and children) as Clone have put out unreleased projects since the original Journey of the Deep Sea Dweller series and I hope there is more to come. 

I would recommend Marcus Barnes' recent piece for Mixmag as I think it manages to successfully address the admittedly complex origin of the Drexciya myth/story.