[Intro: Starts with heavy, analog tape hiss and static (the main texture). A low-frequency, heavily distorted shortwave radio signal (barely audible) fades in. Sound design over traditional notes. No clean tones.] [Phase 1: Degradation Loop] [Section A: A short, 4-bar loop of a heavily processed, detuned piano motif starts playing. The loop is treated to sound like it is perpetually decaying and repeating (like a worn vinyl record or Basinski's loops). **Crucially:** Introduce subtle, non-rhythmic, high-frequency digital *glitches* (sharp, quick cuts) for surprise effect.] [Phase 2: Ruis en Dissonantie] [Section B: The piano loop is slowly submerged beneath a layer of sustained, high-pitched *feedback drone* (in the style of Fennesz’s guitar noise). The sound is deliberately harsh and dissonant against the piano. The static tape hiss is now louder. **Anti-Climax:** There is NO traditional build-up. The track remains at an uncomfortable, constant intensity.] [Phase 3: Fading Memory] [Section C: The feedback and glitches abruptly cease. Only the decaying piano loop and the tape hiss remain. A new, very slow, and *unstable* field recording (like a warped recording of street sounds) takes over. The volume of the entire track slowly starts to waveren (flutter/wow effect) as if the tape machine is dying.] [Outro: Total Decay] [Ending: The piano and field recording fade completely. Only the sound of the thick, heavy analog *tape hiss* remains, slowly dropping in pitch until it dissolves back into silence over 10 bars. End with a sharp, final digital 'pop'.]
