Mike Slansky (Unterm Rad) has been quietly amassing a résumé built for exactly this kind of project. Cut his teeth as an early Tympanik Audio signee, went on to co-found Point Source Electronic Arts (part label, part clubhouse for sound obsessives) and spends his off-hours playing in REKT, Mesaverde, and Tokataur, trading remixes and collaborations with a rotating crew that includes Hecq (Ben Lukas Boysen), Ginormous, Anatoly Grinberg (Tokee), Mark Spybey (DVOA), Access to Arasaka, The Fellow Passenger, and Room of Wires. That’s a lot of respected names-in-the-game to drop before the record even starts, but it explains the density of The Getaway — a decade of trading tricks with people equally obsessed with texture has clearly rubbed off.
And the sample library is the whole story here. Every clip on The Getaway comes from Point Source‘s “Genome” kit — an open-source stash of short instrument fragments and found sounds, no synthesizers, no AI, nothing else allowed in the building. It’s a constraint that reads like a dare, and Slansky answers it the way a locksmith answers a locked door: by taking the thing apart piece by piece until it does what he wants.
“Hang Me Out To Dry” sets the tone immediately — busy, relentless, unmistakably percussion-focused, with texture and quiet glitching sneaking into the pauses between hits. Strange machine-like sounds and what might be foley work run underneath it all. “They’re On To Us” pulls the energy down into something slower and calmer, deep bass and short clicks and faint glitches laying down a grumbling, purposeful track that occasionally gets busier before settling right back into that low rumble.
“Cornered” goes for something grimier — deep bass, digitally artifacted kicks, weird metallic textures, and a snare built out of metallic white noise, all distorted and grindy in a way that calls to mind some future dystopian factory floor. “Incursion” slows things down further and gets more measured, opening with a kick, bass tones, and a clicking hi-hat before that hi-hat multiplies into a reverb trail while groaning background textures fade in and out with slow attack and slow release — experimental, patient, and somehow dub-adjacent without ever being dubby.
“Outrun” snaps the energy back up, percussion-heavy and busy with a steady flow of experimental textures building underneath, the whole thing carrying a cadence built for chase scenes and driving well above the limit. “Narrow Escape”occupies the middle ground stylistically, landing somewhere between the patience of “Incursion” and the drive of “Outrun.” And “The Walls Are Closing In” closes the original run with a weird metallic sound effect lead-in, slow measured drums, a short pause, then drums returning with fresh energy — repeats, mild metallic clangs, and quiet glitching giving it an industrial feel without becoming industrial music outright.
The remixes don’t just revisit — they interrogate. Access to Arasaka‘s take on “Incursion” granularizes the original into a dense mural of texture and noise, dripping in glitchy randomness. Evaluation Copy‘s “Cornered” buries deep bass kicks under storms of texture and glitch, with bass tones bending downward in pitch for maximum effect — chaotic, but with real rhythm holding it together. Vaag‘s “Incursion” goes furthest afield, opening with kicks and bass before clicking IDM flourishes pour in alongside a distorted, modulated voice sample, fading toward silence before the glitch and that voice bleed back in.
Feederwire‘s Heptagonal Mix of “Cornered” layers metallic drones before dropping into groovy, distorted IDM chaos-drums shot through with darkness, a heavily distorted bass synth bending low beneath it all. Hexalyne‘s “Incursion”opens with a static fade-in and echoing artifacts like something recorded in a cavern, then unleashes pure braindance weirdness over long, haunting drone pads — melodically simple but rhythmically dense, with strange effects flooding in past the halfway mark. And Cole‘s Breathing Space Mix of “Cornered” closes the record on reverb-drenched pads and deep bass hits that fade in from nothing and fade back out the same way, an abstract, ambient, texture-soaked finish.
Mastered by Alex Stilts at Orbit Room Audio, with cover art and design handled by Slansky himself, The Getaway carries the catalog number mhrk508. Seven originals, one sample kit, no synthesizers anywhere near the sessions. Six remixers took just two of those seven tracks — “Incursion” and “Cornered” — and pulled six genuinely different results out of them, none of which sound like leftovers. Slansky built this whole thing out of restrictions and blew past those same restrictions like they weren’t even there.
The Getaway by Unterm Rad was released on 14 September 2026 on Mahorka Records