Rappimummepoppep The Private Version
A monumental composition fusing operatic grandeur with industrial noise. Originally exceeding 120 minutes, the piece was sequentially edited to 80 minutes for CD compatibility, and later refined to just over 50 minutes. It stands as the most unfiltered articulation of .InfO OverLoaD’s artistic ethos: a haunting, sermon-like descent through whispered passages drawn from the Book of Revelation, intricately woven into its sonic architecture. This edition adds numerous works throughout sound & music endeavors that is only for the private vault.
1. Album Title
Rappimummepoppep The Private Version stands not as a title, but as an arcane designation, marking a sanctuary of sound reserved for the most profound act of listening, creation, and presence. The 'Private Version' elevates the work from mere public transmission to a ritual object—an uncompromised wellspring of fundamental truths of acoustics and the infinite potential of sound generation through synthesis, as articulated in the core manifesto. It is the unedited testament to artistic integrity above all else.
2. Album Direction
This monumental composition, A monumental composition fusing operatic grandeur with industrial noise... refined to just over 50 minutes... a haunting, sermon-like descent through whispered passages drawn from the Book of Revelation, intricately woven into its sonic architecture... only for the private vault, serves as the ultimate distillation of the band's ethos. It is the living architecture of resonance, presence, and perception, rejecting haste and embracing iteration not as delay, but as a necessary discipline. The 'operatic grandeur' and 'industrial noise' become the physical manifestation of the manifesto's physicality of instruments and the subtleties of timbre, while the 'whispered passages drawn from the Book of Revelation' embody the dimension of meaning found in every silence.
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."
The Shard Demanding Existence
The Rappimummepoppep The Private Version is the necessary sonic crucible forged by this creed. The manifesto's declaration of music as a living architecture built on fundamental truths of acoustics and reverence for the instrument demands the existence of these tracks, which chronicle the band’s deep temporal commitment. Titles like Rockout! [1978] and Rullbandspelero! [1981] become chronological monuments to the long view and the rejection of haste. The 'haunting, sermon-like descent' of the 'Album Direction' is the manifestation of listening to the evolution of texture and seeking the dimension of meaning in silence.
The tracks are artifacts of this deliberate process and necessary discipline. They are not songs, but sonic experiments (Carmel Proto Drums [1982], Interview on pitchshifter [1986]) that meticulously probe the infinite potential of sound generation through synthesis and the physical behavior of gear. The operatic scale implied by Rappimummepoppep - Aria et Requiem Apocalypsis [2007] is the ultimate expression of creating sound that embodies truth and occupies its sonic space with apocalyptic weight, ensuring the final artifact is felt, not merely heard.
4. Tracklist
Rappimummepoppep - Aria et Requiem Apocalypsis [2007]
This is the terminal thesis of the manifesto, the overwhelming act of listening, creation, and presence distilled into a single, monumental work. The title, fusing Aria (the solo voice of expression) and Requiem Apocalypsis (a mass for the dead of the revelation), represents the moment when the band's artistic integrity achieves its terrifying and beautiful final form. It is the sonic architecture collapsing into itself—a deliberate, 120-minute descent through the subtleties of timbre and the alchemy of spatial resonance. The immense temporal designation, [2007], frames it as a patience, precision, and reverence culmination, the result of years spent rejecting the tyranny of the immediate. It functions as a warning: this is what happens when sound is pursued to its absolute, uncompromised, and private conclusion. The emotion is not despair, but transcendent inevitability, where every note, a universe of detail, is consecrated as a fragment of the ultimate truth. It is the ultimate sermon woven from whispered passages and industrial grandeur—a sonic commitment to the long view where the immediate is sacrificed for the eternal.
Rockout! [1978]
An ancient shard from the initial establishment of first principles, this piece is a primal, aggressive assertion of the band’s stance. The title, Rockout!, is a rebellious slogan, a declaration against the first lie of stylistic convention. As a 1978 artifact, it represents the foundational moment where the physicality of instruments was first treated not as a tool, but as a partner in expression. The sound itself must embody the raw energy of creation, a refusal to surrender to expediency. The emotion is a visceral liberation, where the sound generation is explosive, unrefined by later iteration, yet pure in its original intention. It is the sound of listening to the physical behavior of the material itself, a loud rejection of the silence of compromise. It stands as a defiant sonic marker, a testament to the decades-long journey toward authenticity, proving that even the earliest expressions were rooted in the conviction that sound must be felt.
Disco sarcasms [1978]
Appearing alongside the primal Rockout!, Disco sarcasms is the manifesto’s intellectual counterpoint, a sly deconstruction of style, trend, or convention. The title is an ideological act, using the superficiality of 'Disco' as a vehicle for sarcasms—the band’s sharp critique of the tyranny of the immediate. This track analyzes and then atomizes the quick, transient nature of popular sound, contrasting it with the band’s commitment to depth over speed. It represents the meticulous study of acoustics used not to conform, but to satirize. The emotion is one of cold, academic detachment and precision, where every rhythmic pulse and timbre choice is an intentional, calculated subversion. It is an early example of how .InfO OverLoaD uses sound generation to reflect its intention: not to chase novelty, but to build with the deliberate process of a sonic architect, ensuring that even a dance rhythm carries a dimension of meaning that critiques its own existence.
Rullbandspelero! [1981]
This title, likely referencing magnetic tape (Rullbandspelare means reel-to-reel player in Swedish), is a prayer or an homage to the physical medium—the material component of the living architecture of resonance. It fetishizes the recording device not as technology, but as a sacred craft. It marks the moment where the band's commitment to first principles extends to the very texture of sound capture, embracing the inherent flaws and warmth of the analog process as integral to the final timbre. The emotion is one of reverence and profound respect for the medium, recognizing that the imperfections of the tape itself contribute to the authenticity of the sonic space. This track is an exercise in how well a sound embodies truth not despite, but because of the apparatus used to capture it. It is an exploration of the evolution of texture as the tape itself ages and wears, a deliberate slowing down to embrace the long view of sound preservation and decay.
Carmel Proto Drums [1982]
Carmel Proto Drums is a direct experiment, a sonic treatise on the physicality of instruments and the infinite potential of sound generation. The 'Proto Drums' designation signals that this is not a performance, but a disciplined iteration—an exploration of a fundamental rhythmic element at its core. It is the band turning inward, listening intensely to the materials, construction, and physical behavior of the percussion. This track functions as a slogan for the manifesto’s dedication to precision. The emotion is one of scientific curiosity and clinical depth, where rhythm is stripped bare of convention, existing only to explore its own acoustic possibilities. Every hit is measured not by its musical impact, but by how fully it occupies its sonic space. It rejects the surrender of expediency, prioritizing the deep, systematic understanding of acoustic truth over easy rhythmic gratification.
Interview on pitchshifter [1986]
This track is a meta-commentary, a captured moment that transforms the technical discussion of an effect (pitchshifter) into an inherent part of the living architecture. It elevates the technology from a tool to a partner in expression, enshrining the intellectual process of sound manipulation. The 'Interview' frames the exploration of synthesis as a sacred text, where the very act of discussing the equipment’s limitations and possibilities becomes the music itself—a dedication to the infinite potential of sound generation. It acts as a warning against chasing novelty for novelty’s sake, instead demonstrating how a piece of gear is mastered with patience, precision, and reverence. The emotion is an intellectual veneration of the process, a clear commitment to the belief that the intention behind the sound is as critical as the resultant noise. This sound is progress measured not by speed, but by depth.
Industrial Whales [1986]
Industrial Whales is a potent, evocative image that merges the organic (Whales) with the synthetic and constructed (Industrial), representing the full scope of the band’s commitment to resonance, presence, and perception. It is the collision of the manifesto’s core tenets: the majestic, low-frequency song of the deep (subtleties of timbre) is interwoven with the brutal, metallic logic of the machine (fundamental truths of acoustics). The title functions as a prayer to the immense, echoing scale of sound—the 'Whales' symbolize the long, profound act of listening, while the 'Industrial' element brings the raw physicality and textural evolution. The emotion is one of haunting scale and existential decay, as the vastness of natural sound is distorted and magnified by the human-made world. It demonstrates how every note is a universe of detail and how the alchemy of spatial resonance can make the smallest sound feel colossal and sorrowful.
Chatty Effects [2005]
A later-era entry that speaks to the continuous iteration not as delay, but as a necessary discipline. Chatty Effects captures the sonic conversation between various synthesizers and processors, proving that the band’s process is one of constant dialogue with the infinite potential of sound generation. The title is a playful yet serious acknowledgment that the instruments are partners in expression—they 'chatter,' suggesting a spontaneous, yet controlled, generative process. It addresses the manifesto’s focus on the evolution of texture and the meticulous, almost conversational refinement that leads to authenticity, not compromise. The emotion is one of deliberate engagement, a focused listening to the sonic artifacts themselves, treating the feedback and artifacts not as noise, but as meaningful dialogue. This track asserts that even in 2005, the band rejects the tyranny of the immediate to instead build with patient, precise, and reverence for the sound itself.
TAD [1993]
TAD is an uncompromising cipher, a three-letter abbreviation that demands interpretation as pure, unfiltered intention. This lack of descriptive language emphasizes the manifesto’s belief in sound that must be felt rather than merely heard or described. As a 1993 artifact, it marks a mid-point in the long view of the band’s work, a moment where the exploration of first principles achieved an almost minimalist, essentialist form. It functions as the ultimate stance—a piece of sonic architecture so perfectly tuned that it requires no external context. The emotion is one of absolute precision and depth, where every sound decision is a step toward a singular truth. The track is the sonic representation of the core credo: "Expediency is not liberation—it is surrender." TAD is the opposite of surrender; it is a profound act of unyielding, focused presence.
5. Album as a Living Artifact
Rappimummepoppep The Private Version is not a collection of tracks but a sacred architecture of resonance, a ritual object forged in the crucible of patience, precision, and reverence. To listen is not to be entertained, but to be initiated into a sonic creed that demands the long view. The operatic grandeur and industrial noise become the sonic equivalent of a haunting, sermon-like descent, utilizing the whispered passages drawn from the Book of Revelation not for narrative, but as a vibrational dimension of meaning woven into the very texture of sound.
The album transforms the listener by dismantling the perception of music as a fleeting convention. It forces an encounter with the fundamental truths of acoustics, revealing the instrument as a partner in expression and every note as a universe of detail. By prioritizing authenticity, not compromise, this private vault exposes the surrender inherent in chasing the immediate. It destroys the world of haste and expediency, revealing a world where time is measured by the depth of intention. The experience is an act of listening, creation, and presence—a process that strips away the superficial until only the sound, embodied truth, and the listener’s raw, sensory perception remain. This artifact demands that the listener must not merely hear, but be felt by the relentless, uncompromised gravity of its existence.