Skip to main content

Pre Werks III

· 9 min read
Denis Tumpic
CTO • Chief Ideation Officer • Grand Inquisitor
Barnaby Puddlejump
Visionary of Sonic Hallucinations & Authorized Interpreter of Cloud-Based Basslines
Lester Whistleton III
Supreme Archivist of Untranslated Sighs & Former Minister of Emotive Commas

PreWerks

An immersive documentation of .InfO OverLoaD's sonic pilgrimage, a sacred text detailing the philosophical necessity of Pre Werks III, an unreleased album that binds the discipline of music theory and music engineering through iterative refinement, seeking both wider width and deeper depth in sound.

1. Album Title: Pre Werks III​

Pre Werks III is not a collection of songs, but a declaration of process and discipline. The title signifies the iterative nature of creation, marking this as the third cycle of necessary discipline and refinement—a commitment to the long view where authenticity is valued above expediency. It contextualizes the music as a profound act of patience and precision, where old prototype music is revisited and re-refined to embody truth and reflect intention more fully within its sonic space.

2. Album Direction: Binding it all together music theory and Music enginering. Re-Revisiting old prototype music and iterative refining. Get both the wider width and the deeper depth.​

This direction is the methodological stance of the work. The binding of music theory and music engineering is the commitment to first principles, where the fundamental truths of acoustics and sound generation are merged with the physicality of instruments. The command to Re-Revisiting old prototype music and iterative refining is the rejection of haste and the embrace of iteration as a necessary path toward authenticity. To Get both the wider width and the deeper depth is the pursuit of the infinite potential of sound, seeking not only pitch and rhythm (width) but the subtleties of timbre, the evolution of texture, and the alchemy of spatial resonance (depth).

3. Band Manifesto (Contextualized)​

"We believe that music is not merely sound arranged in time, but a living architecture of resonance, presence, and perception. Rooted in first principles, our practice begins not with style, trend, or convention—but with the fundamental truths of acoustics, the physicality of instruments, and the infinite potential of sound generation through synthesis.

We honor the instrument not as a tool, but as a partner in expression—its materials, construction, and physical behavior are sacred to our craft. We listen not only to pitch and rhythm, but to the subtleties of timbre, the evolution of texture, and the alchemy of spatial resonance. Every note is a universe of detail; every silence, a dimension of meaning.

Our process is deliberate. We reject haste. We embrace iteration not as delay, but as a necessary discipline—each refinement a step toward authenticity, not compromise. We measure progress not by speed, but by depth: by how well a sound embodies truth, how precisely it reflects intention, how fully it occupies its sonic space.

We value artistic integrity above all else. Expediency is not liberation—it is surrender. We do not chase novelty for novelty’s sake, nor do we surrender to the tyranny of the immediate. Instead, we build with patience, precision, and reverence.

This is not a style. This is a stance.

We are committed to the long view: to sound as a profound act of listening, creation, and presence.

We create not to be heard—but to be felt."

Pre Werks III is the audible embodiment of this philosophical stance. The manifesto's demand for patience, precision, and reverence is made concrete by the album's commitment to Re-Revisiting old prototype music and iterative refining. The deeply personal titles ("For Maddie," "I Still Cry 4U!") prove that the infinite potential of sound generation is marshaled to explore and embody complex intention, grounding the intellectual pursuit of acoustics in raw, human presence. The tracks are necessary because they are the very units of refinement—each a universe of detail where a private emotion ("Hidden Sorrow," "It isn't fair") is disciplined by the rigor of music theory and Music engineering to fully occupy its sonic space. This entire collection is an act of artistic integrity refusing surrender to the tyranny of the immediate, transforming personal lament and affection into a living architecture of resonance that is designed not to be heard—but to be felt. The album's dual pursuit of wider width and deeper depth confirms that the human experience, in all its sorrow and sweetness, is the true first principle being analyzed and constructed.

4. Tracklist​

  • Aurum #2: Power

    • This is an ideological act, representing the mastery of acoustics and sound generation. The "Aurum" (Gold) prefix and the concept of Power speak to the infinite potential and profound act of creation rooted in first principles. It manifests the manifesto's command to reject compromise and achieve a sound that fully occupies its sonic space through precise, disciplined force.

  • Aurum #8: Terror

    • An emotional act that exploits the physicality of instruments to evoke a primal, disruptive state. The eight iterations of "Aurum" suggest a relentless, disciplined exploration (iteration not as delay) of sound's capacity to communicate fear, making Terror a specific dimension of meaning articulated through the subtleties of timbre and evolution of texture.

  • Argentum #6: Marsch Suite

    • The "Marsch Suite" is a conceptual act embodying the deliberate process and stance of the band. Silver ("Argentum") suggests a colder, structural precision. It functions as a sonic warning or a slogan of necessary discipline—a rhythmic architecture illustrating how progress is measured not by speed, but by depth and strict adherence to the long view.

  • Savach #7: Hope

    • A direct manifestation of the search for authenticity. Hope is the essential emotion that justifies the rejection of expediency and the labor of revisiting old prototype music. The "Savach" cycle (seventh iteration) signifies a painstaking refinement to embody truth and reflect a vulnerable, tenacious intention.

  • Savach #8: Because You Are So Sweet

    • This track is a personal, dedicated prayer. It is the proof that the infinite potential of sound generation is a vessel for highly specific, tender human presence. The precision of the music theory is used to craft a sound that is as precise as a memory, making the sweetness an undeniable, felt reality—created not to be heard—but to be felt.

  • Solitude For Broken Hearts

    • This is a deeply emotional warning. The track is the sonic realization of a dimension of meaning found in silence. It is a slow, deliberate exploration of decay and introspection, where the physical behavior of instruments is harnessed to give a living architecture of resonance to grief.

  • For Maddie

    • A powerful ideological act: using the highly refined, complex sonic structure built on first principles to honor a specific individual. It validates the manifesto's assertion that the instrument is a partner in expression, dedicating the sum of the band’s patience, precision, and reverence to a singular, non-commercial intention.

  • Hidden Sorrow

    • This track is an image of the interior life, demanding the deeper depth. It manifests the rejection of surrender and the refusal to submit to the tyranny of the immediate, instead building the complex, concealed emotion with subtleties of timbre and an alchemy of spatial resonance.

  • Blendo #8: The Rain Is Endless

    • "Blendo" suggests the synthesis required to achieve wider width. This track functions as a cyclical, hypnotic slogan of resignation and continuity. It is a work of Music engineering where the synthesized sound seeks to mirror a natural, endless state, proving how well a sound can embody truth.

  • Confuzz #8: Waiting For You

    • The sound of iteration made audible. The "Confuzz" prefix implies a complex, evolving texture where the emotional state of Waiting For You is rendered through the meticulous refinement of the sonic space. It is a testament to patience and the commitment to the long view.

  • Deant #2: I Still Cry 4U!

    • An intensely vulnerable prayer. The second iteration of "Deant" implies a revisiting old prototype music of a core, raw emotion. The track uses the full force of the band’s precision not to dilute, but to focus and amplify this truth, transforming a personal lament into a universally felt, resonant presence.

  • Magma #3: It isn't fair

    • A concise, volcanic image and an emotional slogan. The Magma prefix and the third iteration suggest a core, fundamental expression that has been repeatedly refined. It uses the physicality of instruments and synthesis to capture the sudden, eruptive truth of injustice, making the sound a direct reflection of a clear, powerful intention.

  • FAZZT #3: Last Time I Saw You

    • This is a ritual act of memory and finality, utilizing precision to frame a moment of profound loss. The sound, refined through three cycles, resists the tyranny of the immediate by giving the past a fully realized sonic space, making the memory a felt, enduring architecture of resonance.

  • After The Hurricane

    • The album's conceptual and emotional resolution. It is the state achieved After the demanding iterative refining and the structural binding of the preceding chaos. It is the resulting patience and quiet reverence after the storm of human and sonic exploration, where the deepest depth is found in the calm presence.

5. Album as a Living Artifact​

Pre Werks III is not an album; it is a meticulously constructed ritual object—a sonic manifesto made audible and tactile. The work is a commitment to the sacred geometry of sound, where every track, from the Power of Aurum #2 to the quiet presence of After The Hurricane, serves as a meditation on the manifesto's core principle: that music is a living architecture of resonance. Listening to it is not an act of consumption, but an initiation into a heightened state of perception. The listener is transformed by the experience of depth and precision, compelled to listen not for mere melody, but for the subtleties of timbre and the alchemy of spatial resonance that .InfO OverLoaD demands.

This artifact dismantles the tyranny of the immediate—the listener must surrender haste and adopt the band’s deliberate process. The repeated, refined themes—of Sorrow, Waiting, and intense Hope—become less about the creator and more about the listener's own first principles. By binding music theory and Music engineering to the rawest human emotions, the album destroys the world of compromise and expediency. It reveals a world where emotional truth ("I Still Cry 4U!") is not chaotic, but is fully realized and given its infinite potential through painstaking discipline and reverence. The listener is not simply entertained; they are made to feel the authenticity that only patience and the long view can construct. This is the sound of existence, rigorously built: a universe of detail where every note becomes a profound, felt act of presence.