Great Ambient! love your Sound. Perfect done, great track...

HypnagogIA - Neural live for Radio Insomnia

Tracklist : 
(unreleased) No3sis - infinite sens of wonder
Dj Stingray 313 - LARGE LANGUAGE MODEL
Underground Dynamics - Hot Swimming Edition
Axone-X_1 - STB_04- Son Des Steps
(unreleased) No3sis - Carbon Monoxyde
(unreleased) No3sis - Lave prototype 133 part 2
(unreleased) No3sis -  Sapote 
(unreleased) No3sis - Drum rampante brainf*ck oriental
(unreleased) No3sis - drumz distorded july v2
No3sis - Pinacle Low Rock
 Juste S - Waken 
(unreleased) No3sis - Islamogauchiste cosmique
Bjork - Isobel
Monty, Visage - TEK 
KLUSTER, Juste S - Oah
Grand V - Ghost In The Club
Hermeth - Devil's Reject

Nouveau Magniolia - 2025 neural mix

Dedicated to the memory of Adelaide Springett 19 February 1893 - 18th August 1986 

For more info on Adelaide please see:

https://chiddicksfamilytree.com/2024/02/15/adelaide-springett/

Dance Of The Girl In The Blue Dress 2025

A collection of recent instrumentals and demos that haven't appeared on any other albums.
credits
released December 10, 2024

Music - Peter Rand

Keyboards / Guitars - Peter Rand

With great help from -

Drums
Nick DeNardo (Wired/Surface Temperature/Deeds)
Sylvio S Filho (Surrender)
Timothy Reid (Monologue)
Zempel (Until Tomorrow)
Brian Henry (Last Ride)

Bass
Rob Glass (Wired)
Igor B (Surrender)
Philippe Pansard (Surface Temperature)
Timothy Reid (Monologue)
Anton Klinkt (Until Tomorrow)

Keys
Moe Howard (Wired)

Theremin
Rob Glass (Wired)

Guitar
Francois Vingrief (Wired)
John Schilling (Wired)
Timothy Reid (Surface Temperature/Monologue/Deeds)
Scott Riley (Until Tomorrow)
Jamie Williams (Hitched to the morning star)

So Long Ago

“And now for something completely different.”

YouTube link: https://www.youtube.com/watch?v=HGwaiifLfRY

Beauty is time and formless
This interpretation of Johann Sebastian Bach's "Bourrée in E minor," created between 1708 and 1717, 
is fascinating not because of my way of arranging it for the listener, but because of the fact 
that this piece of music is more than 300 years old and reveals its full beauty through the 
interpretation of two sawtooth oscillators, supplemented in the second part by the two TB 303s.

I love Bach, and even if "The Residents" says "Bach is dead," I would like to deny that with a 
swollen chest and say "may he live forever." (or as long as we can still hear.)
Bach's style of composing was quite mathematical, as can be clearly seen in this piece.

He forces the listener into his beat, relentlessly and continuously demonstrating that when someone 
masters two parallel tones, even after 300 years, none of the creative brilliance and unique quality 
of his music is lost...

This piece, originally written for guitar, is listed in the Bach catalogue of works under BWV 996.

Is such an interpretation appropriate? 
I think it shows that music consists of tones and that they are the source of joy, 
independent of the sound producer! 

What is your opinion?

O ZERO

J.S.Bach interpretation by O ZERO

J.S.Bach "Bourrée in E minor" BWV 996, interpretation by O ZERO

May I introduce three chosen members of Vocalite and the spherical sound. 
(Also known as a three-part choir) and the godfather of synthesizers, 
Elka-Synthex from Italy... the year is 1987... A Duet with choir 
(three female singers) and an Elka Synthex (three-part harmony)

This is the second part dedicated to the Vocalite.
1.) Vocalite and  2.) Quai uan Ta ru

Story to the Song...
The Vocalites follow an ancient code: "Only those who hear the rhythm of the cosmos can maintain balance." In their dances, which illuminate the desert in eternal motion, they find peace and the eternity that only the techno universe can offer.

The maturation process that the Vocalites must undergo lasts hundreds of years, during which they learn the rhythm of the cosmos. "Quai uan Ta ru" is the song they must perform as a test before the cosmos... the cosmos gives them the spherical triad, which they must follow in three-part chant.  At the end of the cosmic test, the spherical sound unites and sings a duet with the chosen Vocalites.

This duet leads the people of Vocalite to the highest fulfillment of "being one with the cosmos."    

Have fun...  Robert / O ZERO

Statement
I have nothing against AI music, but I would like to point out that this piece was created by three singers and a keyboard player. Even though I myself don't receive a fee, the singers were compensated for their skills and work.
The singers also underwent vocal training to develop these voices. I myself cannot sing and have the utmost respect for their abilities. Furthermore, they sing truly beautifully, which is not due to me, but solely to their talent.
AI music is interesting, but I cannot and will not bring myself to give preference to an AI over these talented people and over us humans in general.

Vocalite Part II - Quai uon Ta ru

Quai Uan Ta ru (Vocalite Part II)

This is the Vocalite's journey to the stars.

After the first two parts, this track brings the short sci-fi saga 
about this enigmatic race to a close for now. If you're interested, 
there may be more tracks featuring them.

But, back to the Story:

In a distant nebula of sound, the Vocalites were born. They were not bodies, but voices — pure streams of tone and color drifting through the cosmos. Each Vocalite carried a unique resonance: some bright and crystalline, others deep and warm like starlight filtered through dust. Together they shaped a single track, a living composition woven out of their shared energy and their shared purpose.

This track was about shaping the Vocalite’s energies and pursuing a common goal.
They wanted to build a bridge of harmony that could be heard across galaxies, a beacon for every lost signal and lonely echo in the void.

The universe was not silent. From the dark between stars, galactic dissonances emerged — harsh, fractured tones that sliced through the music. They twisted harmonies, bent notes out of tune, scattered the Vocalites into distant corners of the track. For a moment, it seemed the song would dissolve into chaos.

The Vocalites were not afraid. Undeterred, they listened for each other in the static. A single tone rose — a soft, solitary note calling out into the noise. Another answered. Then another. Little by little, the scattered voices found each other again, their frequencies aligning like stars returning to a constellation.

They gathered energy with every reunion. Each Vocalite stepped forward with its solo voice — clear, fearless, and unmistakably its own. One by one, their solos cut through the dissonance, not by destroying it, but by reshaping it. The harsh tones bent, softened, and eventually folded into the greater harmony.

Thanks  for your inspiration and support.
 O ZERO

48x0 Journey To The Stars

Journey to The Stars (Vocalite Part III)

A distant relative once sent me the following image (Cover Art) along with this text:

        Well now, ladies, I ain’t much for fancy words. Just an old banjo, a creaky chair, 
        and a tune that knows its way home. Y’all sing like summer wind through tall corn,
        so I’ll just sit right here and keep time for you.  
        Ain’t tryin’ to steal the spotlight —just happy to play along while the world feels right.

Who knows what he was thinking?
It inspired me enough to write the piece that follows — with a wink and a nod.

I sent him the track, and his only reply was that the banjo wasn’t played in proper clawhammer technique,
and that the ladies (as he put it) didn’t sound nearly as nice.

I can neither confirm nor deny this — he never did say how long his night went on. ;-)

Robert / O ZERO

O ZERO - Clawhammer Chillout

Clawhammer Chillout

This is a little lullaby for all the children impacted by ICE (immigration and Customs Enforcement) in the US.  This is one way I can hopefully lend my support for children wherever they are having to face the fear, loneliness, and terror of being torn from their families.

Icy Weather

From a series of (almost) daily ocean glimpses. The music is composed to a video of the sea (photons captured fresh every day). You can experience the full video version: https://youtu.be/UfjW2A0zzcA

Glimpse 1597 (Feb 15 2026)

Glimmering Light

John Rose is a composer working out of Lexington, Kentucky. John has worked for many years doing live radio, outdoor festivals, art openings and planetarium performances. John has been a pioneer of electronic music in Kentucky since the 1970s. He continues to work on solo recordings, and is a sound tech and stage hand. He recently started recording and producing music for other people. John also loves to teach wilderness survival and awareness and has been doing so at camps and workshops around Kentucky and Tennessee.

John Rose’s music is created primarily from his own experiences, what he calls “life’s soundtracks”. He utilizes elements from his diverse musical background, which includes early music (especially the Medieval and pre-Renaissance era), Baroque (owing to his direct musical lineage to J.S. Bach through oral teaching tradition), Middle Eastern Music, Gregorian chant, traditional Celtic and Appalachian music, and experimental electronic music.

Music and musicians who are of interest to John Rose are J.S. Bach, Arvo Part, Tangerine Dream, Dead Can Dance, Gregorian chant, Cantigas de Santa Maria, Alan Stivell, Morton Subotonic, John Jacob Niles, Debussy, and Chopin. He considers Nature and Silence to be the foundation of all music.

John’s music is timeless and pensive, interwoven with images of nature, expressive rhythms, deep space pulses, and industrial ambience. Other compositions contain intricate piano passages dancing across waves of geometric ostinatos.

“Music is structured in silence and has its foundations in the rhythm of nature, out of which springs the language of humanity and reflections of the energy of life. I wish to express this to the listener through my music.”

JOHN ROSE SOLO DISCOGRAPHY (cassette format):

Evening Thoughts (90min)
I Could See Them In The Distance (60min)
Rainsongs--also available on LP
Oceans of Contradiction (90min)
Reflections (90min)
Chemical Dreams (90min)
Night Songs (90min)
Meditations (90min)
Zeitreisen (90min)

The Natural World (90min), a recording of live music from the woodland art fair in lexington
Diane Timmons Live at ArtsPlace in Lexington.

CD Format

Cosmogenesis  April, 2001 on SpaceForMusic.com Records
Conversing With A Rainy Night 2004
Unsound 2023


with Tony Gerber
2001 - Airwaves (Electronic Instrumental, Released in January 2000 on MP3.com)

with SPACECRAFT
1997 - Spacecraft: "Spacecraft" (Lektronic Soundscapes LS97009 CD)
1998 - Spacecraft: "Hummel: Live" (Lektronic Soundscapes LS-1012 CD)
1999 - Spacecraft: "Earthtime Tapestry" w/Giles Reaves (released August 4th, 1999 on Lektronic Soundscapes)
1999 - Spacecraft: "Kaleida Dreams" w/Giles Reaves (released November 25th, 1999 on SFM Collective at MP3.com)
2000 - Spacecraft: "20th Century Mix (Best of)" (released January 12th, 2000 on SFM Collective at MP3.com)
2001 - Spacecraft: "Musical Meditation for World Peace" (released January 1st, 2001 on SpaceForMusic.com Records via mp3.com)
2001 - Spacecraft: "Summer Town" (release Feb. 15th on SpaceForMusic.com Records SFM12001)
2001 - Spacecraft: "Cybersphere" (released May 19th on SpaceForMusic.com Records SFM22001)

Glimmering Light

John Rose

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