In this short article I attempt to expand upon Kodwo Eshun’s reading of Afrofuturist Detroit techno duo Drexciya. Developing Eshun’s connection between Drexciya’s underwater mythology and Paul Gilroy’s 1993 monograph The Black Atlantic, I consider the implications that the Drexciyan oeuvre has for questions of racialized traumatic experience, intercultural identification, and hybridized global cultural imaginaries. I argue that the Drexciyan sonic-fiction, broadly conceived, allows us to understand the productive potential that intercultural identifications allow for self-expression and also the opportunity to understand these outside our own limited local, national, and cultural boundaries.