“There’s nothing new under the sun, but there are many suns” - Octavia Butler
-- It is the year 2043, and the earth is in the midst of the Great Othering.
Pandemics, austerity, and the cruel gospel of digitized neo-imperialism have brought about war and division on Earth. White noise and algorithmic trauma distract and destroy, while ecological tinnitus and somatic dissociation have tried to silence ancient signals thrumming from
the depths of the Atlantic.
New Atlantians, descendants of the original Drexciyans, broadcast encoded flows to distant allies from emergency beacons hidden deep beneath the Atlantic. Dream Sages from Kepler 22-b respond to the call, calling forth Kenotic Majic, a sacred technology used in times of global crisis. Atlantians remaining stand vigil beneath the shimmering surface of the ocean, unwilling to surrender to ecological collapse.
But there is hope. The Waiting has begun. Strange, splintered responses from afar offer solidarity from Kepler 22-b, whilst low-fidelity ghostsong beams up through ancient transistors, bearing encrypted mnemonics with clear traces of Kenotic Majic from the watery depths.
Somatic Icaros, etched in sonic parchment, are downloaded. Astral radiance, spellsongs, and music for Deeprituals offer the beginning of a new interplanetary resistance, the first new transmissions received back to the sacred oceans from lightyears away…
Inspired by the work of sociologist Paul Gilroy’s on the Black Atlantic, science fiction icon Octavia Butler, and the work of electronic futurists, Drexciya, for their narrative brilliance, Deepchild presents a mythological ‘splinter cell’ and lens for personal reflection on contributions from these giants - and a full-tilt lean back into robust, pneumatic machine-music.
As both a quiet homage and fiercely tectonic meditation on the thesis of the Black Atlantic, this project offers a conceptual invitation to explore one of techno’s crucial foundation myths, rather than to seek to emulate and ossify it.
What does the Drexciyan mystery still reveal to us now in a so-called ‘post-colonial’ epoch, still very much in thrall to colonial assumptions of power and exceptionalism? What part does “techno” music have in re-imaging a future beyond this ‘The Great Othering’?
Composed and mixed by Rick Bull
Mastered by Jay Hodgson