A three-year hiatus, driven by severe technical constraints, concluded in 2000 with the release of Brain Twister II. While sonically more conventional—drawing from generic techno forms and simplified production techniques—this album served as a necessary interlude, providing temporal and technical space for creative recalibration.

Material excluded from Vilthermurpher formed the conceptual and structural foundation for its successor, Brain Twister. Expanded with six new compositions, this release embraced a more abrasive aesthetic and introduced complex, high-intensity sequencing—pushing the boundaries of structural endurance and auditory perception.

A curated selection of works from the formative period was refined into a cohesive album: Vilthermurpher. Originally conceived as an 18-track suite, the final release was streamlined to enhance sonic coherence and production fidelity. The album was officially mastered in 1997.

As the decade unfolded, the terrain of sonic expression began to shift—not in direction, but in dimension. The early proto-soundscapes, born from analog whispers and tape-loop confessions, gradually found new purpose in the emerging digital frontier. By the late 1980s, .InfO OverLoaD had entered a new phase: the era of short-form audio composition, not as a concession to brevity, but as a profound artistic discipline.

Born not in a studio, but in the quiet hum of a audio laboratory in 1984, .InfO OverLoaD emerged not as a band, a label, or a genre—but as a radical proposition: that sound, in its purest form, is not merely to be heard, but to be lived. What began as a solitary act of sonic inquiry—fueled by a handful of salvaged tape machines, a synthesizer, and a soldering tool—soon became a sustained dialogue between man, machine, and the unseen forces of vibration.

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.