DREKKA – Beings of ImberIndus


Mkl (Michael) Anderson is the actual name of the man in charge of the Drekka project. What he does and what he’s done throughout the years is effortlessly readable by surfing a bit, the results pointing to a single conclusion: Anderson is a busy artist across fields strictly connected with an individual’s faculties as a human aerial.

Beings Of ImberIndus is a 65-minute pseudo-static piece originally born as a hexaphonic sound installation for the namesake sculpture exhibition by Carrie Weaver. Besides the principal, Þórir Georg is featured on bass. The basic pitch originating the whole opus comprises a number of acoustic constituents – breath, electricity, the reabsorption of its own reverberations – which contribute to slightly alter its shape along a slowly drawn trajectory. At first, just a hypnotic buzz encompassed by shifting atmospheres mainly deriving from sibilant matters and quivering subsonics. As the minutes elapse, our alignment with the vibrating core is subjected to a serious process of fine-tuning. You can get lost in the morphing frequencies of a given spot, or identify a couple of rebellious upper partials under the apparent tranquillity. Something wants to deviate from the main path, but the Mother Drone is always there to clutch at its suspenders and bring it back to order. All in all, a Phill Niblock / Nurse With Wound circa Soliloquy For Lilith hybrid would not be totally out of place as a silly evocation for the curious.

This record materialized in a very precise moment of instinctive repulsion for a substantial representation of mental corruption. If one believes in sound as a purifying means against the sort of behavioral toxicant we’re surrounded by on a daily basis, this dose of temporary rational oblivion will definitely work great. Best served on headphones – and don’t be diverted by anything or anyone else. We’re talking selflessness here.

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