Since 1996 Michael Anderson has evolved from experiments in early industrial tape culture to the production of fragile bedroom noise folk with expansive cinematic textures in his project Drekka. Having released dozens of cassettes, CDs, and LPs on his own Bluesanct label as well as numerous other labels internationally, Anderson has traveled, collaborated, and relocated, all the while collecting memories and building a very personal archive of corresponding sound. Drekka’s music is made through continually delving into this archive: digging up and repurposing old recordings, live performances, and forgotten snippets of out-of-touch friends’ voices. It is a project that experiments not only with sound, but also with memory as a subject and a process. Like Tarkovsky’s The Mirror or the more abstract works of Coil and Cindytalk, Drekka is both a sonic experiment and an assemblage of memories – at one moment dissonant and intimidating, and the next warm, hospitable, and ultimately soothing.
Drekka put out its first LP, titled Ekki Gera Fikniefnum, with Dais in 2014, and followed up with a second Dais release, Unbeknownst To The Participants At Hand, a year later. With these releases, Drekka has both solidified its place alongside contemporaries like Svarte Greiner, Tim Hecker, and William Fowler Collins, while at the same time stamping its own imprint by way of the extremely personal elements in the music. Rather than the obscurity that is so often the effect of experimental music, Drekka functions as a direct line into Anderson’s mind, his dreams, and his fragile, tenuous cache of memories.