For over twenty years, Mkl Anderson has curated a vast archive of recorded material for his cinematic ritual ambient industrial project, Drekka. He works with memory not only as a subject but also as a healing process, continually delving into this personal world of sound; examining, revisiting, and repurposing recordings in an attempt to recall a past which sings from the darkness surrounding the tenuous provinces of memory and dreams – the real ghosts of time and sound.
No Tracks in the Snow is a collection of tracks from the early days of Drekka’s history; the third offering for Dais Records and an appendix between the second and third parts of the Tarwestraat trilogy of LPs for the label.
Recorded between 1996 and 2002, the album showcases Drekka’s early exploratory development across a variety of styles. And yet it is also Drekka in the present moment; culled, curated, and assembled with care. Not unlike Borges’ “A Personal Anthology” – or indeed any of Drekka’s own recent work – this recording can be understood as a cohesive narrative more than as a simple compilation.
As Drekka moved from its Bristol UK influenced space folk beginnings, backwards towards Anderson’s earlier UK industrial tape culture foundation, his predilection for reworking pieces over time was emerging; recontextualizing narratives to bring out new truths from one’s own history. This process would become a cornerstone of Anderson’s work for the decades to follow.
No Tracks in the Snow, which was released by Dais last Friday, is an exploration of the threads of continuity which bind the various modes of Anderson’s oeuvre. As he nears completion of the third album in his trilogy of LPs for Dais Records, No Tracks in the Snow is an introspective pause and a celebration of a life spent listening to the world around us and its sleeping potential.