Artist: Disco Splendor
title: new wage
keywords: experimental ambient drone noise Augsburg
label: attenuation circuit http://www.attenuationcircuit.de/
Disco Splendor spreads out a pastry of sound that is thick and crunchy. The crusty feel is a bit chopped as if the recording is recorded through the turning propellor blades of a helicopter. It’s also loud like such a helicopter, so it might not be a all too weird comparison. Through this steady feel of helicopter noise, music is being received as well as communicative radio chatter. It has something militaristic and yet carefree and jubilant. Not the whole time perhaps as the noise is quite grilling in its workings upon the ears, and it might be a good idea to wear a helicopter helmet with ear protection before playing this album, but if not; you are definitely an instant hero!
I’m not so into video games, but I remember old school flight simulator. If there is such a similar thing with a helicopter to play, it would be an excellent idea to play the game with this album as the soundtrack; it will definitely add a great deal to the real experience of it all.
The other part of the album keeps the helicopter vibe, but has a slight more grimier perspective in the sound and feel. Some classical opera music might be waved in, but it’s the spiral of tonal windy noises that would lead the way. Not sure if the way of the flight is one of going up or in rapid speed going down towards the earth’s surface, (maybe it’s both!) but it’s for sure not a smooth ride. In fact it’s easy to imagine that the pilot plays the classical opera just to try to calm down the situation, as it’s evident that there might be a hard landing through the bad weather. As a listener at home I feel solidarity with the Helicopter trouble, digging my sweaty hands deep into the arms of my chair; let’s pray for a happy ending!
https://emerge.bandcamp.com/album/new-wage
<KN>
Yeah I Know It Sucks 
Advice by YIKIS to use ear protection should not be taken lightly! I’ve listened to it on speakers and it was quite heavy on the ears for sure. A slight endurance torture.
While listening I wondered how the artist would go along the composing and recording such piece. Is he/she carefully blending layers of noise together, listening it over and over. Adjusting the noise just right to be annoying enough, yet bearable enough and tensing enough to keep the listener listening. (no offense, It did have that balance and I find that very skillful!)
When mastering for the release, does the producer cheat? Muting that one channel with the most shrieky sound, only adding it in when the master is created for pressing/recording the album on physical media. It’s twice 30 minutes, so I think a mc would be a fine piece of medium for it. It would just need a warning that I won’t blame the heads of the player to be worn out or dirty 😀