Proto Werks Two
An archival document indexing the sonic philosophy and architectural intent of .InfO OverLoaD's unreleased work, Proto Werks Two. This is the documentation of a stance, an immersion into the first principles of sound, meticulously rendered as an artifact of resonance, presence, and pure sonic integrity.
1. Album Title
Proto Werks Two
The title suggests a rigorous, sequential, and essentialist approach to creation. It is not merely an album but the second iteration of foundational studies (Proto Werks), implying that the work is a vital document in an ongoing, disciplined investigation into the "fundamental truths of acoustics" and "sound generation through synthesis." This is not a final statement, but a crucial stage in a relentless process of sonic architecture.
2. Album Direction
Drill to the bottom of music theory. Experimentation of cadence and melodic progression. Like a mad scientist engulfed in fire.
This direction establishes the album as a work of sacred, fiery deconstruction. It mandates a process of "necessary discipline" that goes beyond convention, enacting the manifesto's commitment to "first principles." The "mad scientist engulfed in fire" is the ultimate metaphor for the band's creative process: one of violent, intentional iteration and refinement, where the rejection of haste becomes an intense, almost dangerous, pursuit of the core of "music theory."
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 create not to be heard—but to be felt."
The entire project of Proto Werks Two is the living architecture built upon the discipline of the "Drill to the bottom of music theory." This album exists because the manifesto demands a test chamber for sonic truth. The process of Experimentation of cadence and melodic progression is the act of honoring the instrument not as a tool, but as a "partner in expression," where the materials and physical behavior of sound are subjected to the refining fire of the 'mad scientist'. The rejection of "the tyranny of the immediate" forces the exhaustive listing of eight movements within four distinct sound-types (Smetall, Schjuit, Paunt, Tang). Each track is a deliberate, measured step toward authenticity, a moment where the "subtleties of timbre" and "alchemy of spatial resonance" are violently yet precisely explored. This is the sound of depth being measured, ensuring that every resulting note "fully occupies its sonic space" and is a profound act of creation and presence. The fire is the necessary discipline; the resulting work is the architectural foundation.
4. Tracklist
The numerical sequence of the song titles (1-8) for four distinct series (Smetall, Schjuit, Paunt, Tang) is the perfect manifestation of the manifesto’s core value: Iteration not as delay, but as a necessary discipline. Each step is a measured progress toward the ultimate embodiment of truth.
The Smetall Cycle
This cycle represents the elemental physicality of instruments and the intense scrutiny of sound's material.
- Smetall 1 - Smetall 4: The initial four movements are the Foundation's Edge. They are the first attempts to embody "truth" in sound, a violent rejection of "expediency," where the sonic space is aggressively cleared for the building of the "living architecture." The titles function as a slogan of sonic metallurgy—shaping base sound with intense heat and pressure.
- Smetall 5 - Smetall 8: These final movements are the Refinement of Presence. They embody the manifesto's demand for depth over speed, where the initial concept is honed through "patience, precision, and reverence" until the sound is not just heard, but fully felt.
The Schjuit Cycle
Focused on the Alchemy of Spatial Resonance, this cycle investigates the environment and perception of sound.
- Schjuit 1 - Schjuit 4: The first movements are the Dimension of Meaning. They seek to establish the relationship between sound and silence, where every silence is a dimension of meaning. The title is a prayer for expansive acoustic truth, an attempt to map the infinite potential of synthesized sound.
- Schjuit 5 - Schjuit 8: These movements represent the Stance of Architecture. The tracks are sonic laboratories, demonstrating how "progress" is measured not by trend, but by how precisely an arrangement "reflects intention." They are a warning against acoustic compromise, embodying the rigorous commitment to the "long view."
The Paunt Cycle
This series explores the abstract, first principles of cadence and melodic progression—the "Drill to the bottom of music theory."
- Paunt 1 - Paunt 4: The early tracks are the Embrace of Iteration. They represent the mad scientist's initial, volatile experiments, where musical theory is systematically dissected to find the fundamental truths. The title is a slogan of necessary deconstruction, where every note must be a "universe of detail."
- Paunt 5 - Paunt 8: These tracks are the Discipline of Truth. They are the successful embodiment of the manifesto’s rejection of novelty, showing how a refined musical structure can embody integrity over immediate satisfaction. They are the ideological act of prioritizing depth over speed.
The Tang Cycle
The final series is the ultimate expression of the band's commitment to sonic texture and physical behavior as the core of creation.
- Tang 1 - Tang 4: These movements are the Witnessing of Form. They explore the subtleties of timbre and how the material of sound can be manipulated to express pure presence. The title is a slogan of tactile sound, emphasizing the physical, visceral impact that allows music to be "felt."
- Tang 5 - Tang 8: The conclusion of the work, these tracks are the Consummation of Presence. They are the final, precise reflections of intention, having passed through the fire of experimentation. They function as a ritualized conclusion, demanding that the listener recognize the music not as sound, but as a profound act of listening, creation, and felt presence.
5. Album as a Living Artifact
Proto Werks Two is not an album; it is a sacred, iterative text, a fully realized, audible manifesto. Listening is not entertainment; it is an act of perceptual participation in a rigorous, foundational stance. This work reveals the architecture beneath the façade of contemporary sound, stripping away the comfort of "style, trend, or convention" to expose the burning skeleton of "first principles."
The artifact transforms the listener by demanding absolute depth of listening. It is an aural immersion into a process of "patience, precision, and reverence," forcing an understanding of music where "every note is a universe of detail; every silence, a dimension of meaning." By traversing the measured sequences of Smetall, Schjuit, Paunt, and Tang, the listener undergoes a sonic discipline, becoming a partner in the expression, sensing the materials, construction, and physical behavior of pure sound. It reveals a world where expediency is surrender, where integrity is built with the fiery intensity of a mad scientist.
The world this artifact destroys is the realm of the immediate, the trivial, and the quickly consumed. It rejects the "tyranny of the immediate" and obliterates the illusion that music can be anything less than a "living architecture of resonance." The album is the sonic proof that they create not to be heard, but to be felt—a commitment to the long view made tangible, a resonant object that permanently recalibrates the listener’s relationship with the physics and philosophy of sound.