condensed endeavour


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also available as CD-R (lt.ed. 50 copies)

live at CAIRO, Würzburg, 22.11.13
recording by Gerald Fiebig and EMERGE
recycling by NYM
mastering, photography and design by EMERGE
thanks to Christian and Taubenschlag crew


released April 21, 2016

A live recording of a concert by EMERGE and Gerald Fiebig at Cairo in Würzburg, Germany, fell into the hands of the mysterious artist (pseudo-) NYM, who used the audio of the whole concert as raw material for creating one of his glacial, monochrome dronescapes.

Clocking in at more than 36 minutes, the composition by NYM rather expanded than condensed the musical endeavour by EMERGE and Fiebig on the Cairo stage, which was hosted by Würzburg’s experimental music series Taubenschlag. Aesthetically, if not temporally, the title is quite fitting as the slowly moving drones created by EMERGE and Fiebig were condensed into a kind of uber-drone, nothing but the infinite background hum of a pre-human or post-apocalyptic universe, with all colour/timbre drained from the sound source. This would make perfect theatre music for any Beckett performance, preferably of “Endgame.”

File under: drone, dark ambient



Condensed Endeavour (ACK 1003, CD-R) gehört zusammen mit Vile (ACK 1004, CD-R) nicht zu den Konzerten, sie bilden als Recycling eine andere Kategorie. Einmal formt NYM die Emerge + Fiebig-Performance vom 22.11.13 in der Taubenschlag-Reihe des Würzburger Cairo um in ein ungut dröhnendes Endspiel. Klangfarben und Licht werden entzogen, es dominiert ein brodeliges Wummern. Der Eindruck ist chronisch ungemütlich, die vulkanische Zone eine üble No-Go-Area. Von Menschen finden sich allenfalls akustische Täuschungen - eine rasselnde Ankerkette, verwehte Radiomusik. Oder ist es nur der Wind?
Der Witz verschärft sich noch, wenn man in NYM und Exedo alter Egos von Emerge erkennt. Er kannibalisiert sich selber bis auf die Knochen, schmilzt sich ein (to merge) und taucht wieder auf (to emerge), höllisch verändert, naturgewaltig vulkanisiert. Dem mit Schamanenrassel zu begegnen, ist als ob man Godzilla einen Lutscher anbieten wollte.



Here's a whole bunch of releases, all but one dealing with the music of Sascha Stadlmeier, also known as mister Attenuation Circuit (sharing duties with Gerald Fiebig) and working as Emerge. I am not sure what prompted this sudden flood of releases. I dived in starting with the release by Emerge, Fiebig and the mysterious named Nym. At the genesis of this lies a live recording by Fiebig and Emerge made in a club named Cairo, in Würzburg (Germany), which was then further treated by Nym (or NYM as the cover and information spells this), and it's of course not easy to say what Nym does to what kind of original. Make more drones out of drones is perhaps the best thing I could think of. Adding sound effects or some kind of computer treatment, filtering out most of the mid to high ranges out of the original (I assume at least) and the dark rumble of plate tectonics is what remains here. I thought it was quite good, but maybe a bit too heavy for me in all its darkness.



kollaboration mit focus tendenziell lebensfeindlicher drones...

prozessierte fieldrecordings (vermutet) und fetzen tatsächlicher klangquellen, zusammen wie eine mischung aus erdbeben, sturm und den daraus resultierenden verwerfungsgeräuschen, die innerhalb des schützenden(?) gebäudes zu hören sind...

das ganze aber mit abstand, mit der sicherheit, dass das gebäude doch halten wird; dieses mal noch... heisst: klanglich weit hinter dicken mauern, nur wenige klänge schaffen es ungefiltert bis ans ohr der hörer, springen aus der dunkel gefärbten deckung. und dann, nach einer unendlichkeit des abklingens ist der sturm vorbei. und diese perfekte reise durch die düsternis.

schöne grüße




Condensed Endeavour is the latest quietly malevolent dronework from NYM, who after his/her/their solo debut on Attenuation Circuit now asphalts a performance by label stalwarts Gerald Fiebig and Emerge at culture hub Cairo in Würzburg recorded back in November of 2013.

The present reviewer has not heard the original, which is summarily described as a drone work. Over thirty-six minutes, NYM takes a bulldozer to a junkyard on a lousy day, under the roil of angry skies. Rust sings, essential gases leak, seeding the clouds with even more vitriol. The slow-motion grind opens wide into a sucking, air-emptying drone, inside of which co- and antivalences are being worked out, discreet textures are plasticined and melodies almost eked out. It grows thick as tar, cooling under a final, icy wind.

Stephen Fruitman




attenuation circuit Augsburg, Germany

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