Greetings, faithful Transmitees. We appreciate your continued presence as we navigate the vast expanse of the electronic music universe. 

Our latest expedition has yielded an exceptional array of sonic artifacts, sourced from a curated selection of visionary artists. A refined auditory experience awaits your discerning ears below.

Enjoy…

As alluded to at the onset of this week’s transmission, our scouts have sourced a tantalising array of audio. Listen… 

In the midst of his Four Fridays at Phonox season of March ‘26 parties, Daniel Avery hands the production reins to DJ Stingray 313 who re-rubs album track Greasy off the Racing Line. Stingray adopts an uncompromising stance with his reinterpretation of the original.

Abolishing most of Mosshart’s vocals, he fills the void with a sublimely viscous bassline and incorporates severe, industrial percussive elements mirroring the avant-garde brutality of Einstürzende Neubauten. These found-sound textures exhibit a conspicuous harshness.

The original is an unquestionable test of low-frequency endurance, characterized by its gelatinous, enveloping bass. Stingray, however, pushes boundaries with a saw-tooth-laden remix, threatening the structural integrity of even the most robust sound system.

A commanding remix of an already muscular production. Grab it at Bandcamp.

The aptly titled It all starts with this on Who’s Susan? marks the latest EP from Amsterdam native Jerrau. His Bandcamp profile modestly asserts that he is 'new to this'... a claim that, alongside the record’s titular hint, confirms this as his official debut.

Having cemented his reputation as an influential tastemaker within Amsterdam’s vibrant club circuit, Jerrau transitions to the studio with the same unwavering fervor he displays behind the decks. His productions mirror the mercurial energy and dynamic fluidity of his DJ sets, evidenced here.

The EP opener, 'Massive,' fully justifies its designation, delivering expansive 90s melodic rave synths alongside a sinuous, gurgling bassline. Its resolute 4/4 pulse channels the spirit of the era, a combination that induces instantaneous euphoria.

Aether follows, featuring fellow Who’s Susan? stablemate DJ OSX. Whether by design or serendipitous alignment, the track evokes the neon-drenched velocity of Mario Kart’s 'Rainbow Road.' Pixelated synths dart through a robust techno framework with an infectious, high-octane energy.

"I did a funny thing to you” taunts the central vocal hook of Escapism, a mischievous invitation into a track saturated with Juke-inflected breakbeat energy. A resolute kick drum anchors a sinister, driving bassline, creating a sense of relentless momentum.

Jerrau caps the experience with Renegades, a relentless, panoramic techno workout. Vibrant synth layers interweave as the percussion steadily intensifies, leading to a sublime, transformative drop at the three-minute mark. It is a masterful execution of tension and release, providing a resonant closing statement.

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Fans of Explosions in the Sky, Boards of Canada and, to an extent Radiohead in their more electronic guise, will revel in Chromaverse (and human structures): the latest album from Swiss artist Emmanuel De La Paix.

Following on from his 2025 work Nebula, La Paix delivers 14 tracks that collectively curate an exploration of electronic music’s various modalities. A range of genres are represented here, imbuing the album with an evolutionary trajectory that feels positively organic at times.

The opening piece, Sound Room is a ten-minute ambient soundwash, complete with monolithic low-end drones dominating the sub-bass frequencies while breathy pads coax out distorted guitars.

The narrative shifts seamlessly into Studio 2 Noise, where we encounter the album’s rhythmic foundations. Frenetic, syncopated drum patterns galvanize the listener’s forward momentum, while the introduction of a formidably distorted bass growl adds palpable grit to the composition.

Wave Room is founded on a distinct IDM logic. The saturated textures of the breakbeat percussion relent to disorienting vocal samples which traverse the stereo field, fostering a sense of instability.

An effortless transition takes us into Wind Room, where caustic static crunches rupture the serene guitar motif we open with. Drum samples are bit-crushed mercilessly, while electric guitar drones spiral across the auditory horizon.

The pivotal composition, in our eyes at least, Sand, Black Tea, and Living Room, is characterized by almost delphine clicks that resonate alongside a minimalist piano phrase and heavily modulated guitar textures.

Bright Lava immediately validates the prior Radiohead comparison. La Paix’s ethereal, fragile vocal delivery floats atop stark, clinical drum programming that could derive aesthetically from Kid-A-era ‘Head. Following a comparable stylistic path, Synth Mode, further solidifies the album’s tonal identity.

Joylato (3 Gusti) continues the Thom-Yorke-esque vulnerability, creating a juxtaposition of human fragility and machine-driven synthesis. This serves as a prelude to Aphex-indebted percussive programming found on Day One.

Next, Shif Cargo escalates the tension, its concise two-and-a-half-minute duration vanishing in a blur of kinetic energy. Abrasive guitar distortion and insistent, processed drum samples propel the track with relentless velocity.

There is a palpable friction in Lunar Suite, as skeletal beats attempt to evade the suffocating embrace of La Paix’s discordant guitar work. When they finally emerge, they balter with a chaotic grace, destabilizing the track's equilibrium.

The Poe-esque fever scene conjured in Doom Room is bolstered by macabre piano drones, which throb with a morose persistence and wail like a spectral choir. And while you might anticipate that Mood Room may provide reprieve, it does not, instead providing a chilling extension to the prior track’s tone.

Summer Terrace provides a poignant resolution to La Paix’s authoritative LP. Do not, however, anticipate immediate relief; while the guitars possess a languid shimmer, the piece commences with a burgeoning rainstorm and contemplative vocal interlude. 

This eventually culminates in a crescendo of intricate melodics and resonant strums, anchored by a weighty, lo-fi rhythmic foundation. A suitably triumphant close to an excellent album.

This week’s Hardware Signal offers something a little different to the usual tech round-up format, as Waveform Transmitter takes a look at Pocket Scion. The compact synth is available now over at the Pocket Scion website, for the curious.

The handheld synth is billed by its creators as a biofeedback instrument. If you want to get a little more technical, then it essentially takes an organism’s bioelectric signals and uses them to trigger a synthesised sound from the device itself.

Aesthetically, the device is palm sized, rectangular, and looks like an artefact straight out of a Guillermo Del Toro epic. A druidic design dominates the top half of the front face, and below is a biofeedback panel to allow your own touch to control the synth, too.

It weighs little more than 100g, so it is incredibly easy to carry with you. This makes the synth ideal for spontaneous outbreaks of ambient music production when you’re walking through forests.

Features-wise, the Scion has four distinct instruments on board to play with, alongside five-note polyphony. You can expand features with the desktop app and a laptop, and the midi out enables you to use the synth as part of a larger setup with additional synths. 

We have been palpably excited about checking this device out. You won’t find a more organic way to control a synth, so we took our Pocket Scion to a local green space to test its mettle. Sadly, there were no fungi to be found, but plenty of other fauna offered ample opportunity for creativity.

The Pocket Scion is easy to set up and start making music in seconds. Simply insert the batteries you need to power it, plug your headphones into the 3.5mm jack, attach the electrodes to the organism you’ve selected for your jamming session, and you’re ready to listen to nature’s symphony.

The possibilities are genuinely endless with the synth. Attaching the conductive nodes to different parts of the organism will generate different biofeedback, and change the sound you hear.

Likewise, touching the organism will throw your own bioelectricity across its surface and on to the Pocket Scion conductors, so you can literally go b2b with all the flora and fauna you encounter. It is a magical experience.

At £129/$149/€145, we’d consider this a bargain. The unbridled joy one feels knowing you’re literally in tune with and creating alongside nature is priceless.

Endless possibilities exist just outside your front door, the Pocket Scion is an essential piece of kit for the nature-loving circuit benders out there. We can’t help thinking a case made from mycelium would be a nice touch…

And thus we conclude this week's transmissions. Waveform’s channels will go dark now and close comms down before we’re detected by frequency scanners.

We’ll be broadcasting signals again next week, with more aural interludes. Until then, we bid you farewell.

Let us know what you thought of this issue. Got anything you’d like to see in future issues? Want us to shut up? Message and let us know!

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