About
Rhythm is the first language. A pulse that starts somewhere—in a machine, in hands, as a thought. MINCKA exists in the creative process that sprouts from there: a dialogue between structure and chaos. Born as an idea between a drummer and a producer, they now call on producers, musicians, and creatives alike to give shape to MINCKA as a continuously evolving project.
Everything starts as a sketch: a fragment or a cadence that seems to lead nowhere—until the live drums take over and the groove leads the way. Sometimes locked in with relentless beats; at other times, dreamy and elusive. Like the soundtrack to a fever dream with echoes of both Mo’ Wax and International Anthem.
From there, an open space emerges, where musicians freely respond to what already exists. Sounds are then cut up and reshaped, like film scenes that only find their meaning in the editing process. It’s a fitting analogy for the background of Bosnian-Dutch drummer Sergej Kreso, who is also a documentary filmmaker. Together with Dutch producer Subp Yao, he initiated MINCKA. But through their approach, one thing becomes clear: MINCKA is not a duo.
Instead of a singular vision, different musicians and collaborators (from Seattle, Beijing, Maastricht, Essex, Amsterdam, Heerlen, and Uden) were invited to go into dialogue with the music. Their responses and sonic detours steered the sound from the get-go. Collaboration lies at the essence of MINCKA. And so does contrast: human and machine. Organic and electronic. Free improvisation and meticulous precision. High appreciation for low-end theories.
It’s a continuously evolving sound that refuses to be put into a box. Instead, it kicks the box to pieces, rips up the remains, and reconstructs whatever’s left into an entirely new collage.
Even now that the music is being released, MINCKA is not finished. The dialogue continues, inviting anyone to give shape to MINCKA. What you hear is not what it was. What it will become is still open.