The Humble Beginings

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.

This was no mere experiment in electronic music. It was a philosophical and physiological investigation into the very nature of auditory experience. The tools were primitive—some parts scavenged from decommissioned radios, others built from scratch using hand-wired circuits and schematics. Yet within these limitations, a profound truth revealed itself: that beauty, depth, and emotional resonance are not inherent to technology, but are forged through intimate, patient engagement with its limits.

By 1986, the ephemeral textures and unorthodox harmonic structures of these early explorations—initially labeled “proto-soundscapes” in handwritten notebooks, their names etched in pencil beneath cassette tape reels and paper—had coalesced into something far more than an aesthetic. They had become a language. Not a language of words, but of resonance, of tension and release, of silence as a living presence. These were not compositions, but events: moments where time, frequency, and space folded into one another through deliberate, almost ritualistic manipulation of sound.

From that convergence, a new artistic identity was born—one not defined by genre, nor by market, nor by the ephemera of popularity. Instead, .InfO OverLoaD was established as a permanent state of becoming: a sonic lineage built on three unwavering tenets:

Acoustic Truth: Every waveform is a testament to physics. We do not bend reality—we listen to it. We honor the laws of harmonic series, the decay of a struck membrane, the phase shifts in a resonant cavity. We do not mask imperfection—we reveal it, shape it, and elevate it into art.

Instrumental Reverence: Whether a vintage Yamaha DX-7 or SY-99, a self-constructed granular engine, or the voice of us echoing through a motor microphone in a candy box, each instrument is treated not as a device, but as a sentient collaborator. We study its voice, its memory, its idiosyncrasies. We do not control it—we converse with it.

Spatial Ontology: Sound is not flat. It is not a signal to be routed, but a territory to be mapped. We inhabit the air between speakers, the reflections in a cathedral’s vault, the way a subsonic pulse travels through concrete. We build sonic architecture not to impress, but to resonate—to make the listener feel the space as much as the sound.

What began as an isolated pursuit in a cramped room has since evolved into a continuous pilgrimage—a lifetime of sonic research, not toward closure, but toward deeper questioning. We do not seek to replicate our past work. We seek to transcend it—through evolution, through silence, through risk.

We are not a movement. We are not a scene. We are not even a project.

We are .InfO OverLoaD: a living archive of sound as consciousness, a refusal to accept noise as passive, a commitment to listen—truly listen—so that the world might finally hear itself.

We are not making music.

We are making space for it to exist.