Lolita Sträp (a.k.a. Sami Liuski): ‘Video Screen’ (2002)
UR: ‘Subsonic Shadow’ (2002)
Volsoc: ‘Needleintuit’ (2002)
Mesak: ‘Visiotek’ (2002)
Le Syndicat Electronique: ‘No Emotions’ (2002/2010)
Circle: ‘Alholan lohikäärme’ (“The dragon of Alhola”, 2002)
Unreleased material from Peel Sessions, 9 June 2002.
Harrison Fnord: ‘The Magus’ (2002)
Teemu T: ‘Fluidity’ (2002)
Drexciya combined a faceless, underground, anti-mainstream media stance with mythological, sci-fi narratives, to help heighten the dramatic effect of their music. Inspired in part by Lovecraftian images of ante-diluvian fishmen and other maritime myths, Drexciya refers both to the recording artists themselves and to planet from which the aquatic Drexciyan species, and its technologically advanced underwater civilisation, originates. 
The majority of Drexciya’s releases were in the style of harsh, dancefloor oriented Electro, punctuated with elements of retro, 1980s Detroit Techno, with occasional excursions into the Ambient and Industrial genres. Tracks are mostly centered around the TR-808 drum machine, with bass, melodies, and synth textures ebbing and flowing in time. 
For deeper insight, visit the Drexciya Research Lab.
Rest in peace, Mr. Stinson.
You must face the power of the black wave of Lardossa before you can become a Drexciyan Wavejumper.
D.I.E. (Detroit In Effect): ‘Programming’ (2002)