SOON to move to Bandcamp as an album - in the meantime, you can also listen in sequence here: soundcloud.com/sonic-textures/sets/scalar-fields
instruments: Jeff Gardiner and jo richter
voice: Jeff Gardiner
modulation, arrangement and all that: jo richter
lyrics: Jeff Gardiner in collaboration with jo richter
image: Jeff Gardiner in collaboration with jo richter



when the waves of silence break
on the dharma nomad's sitting mind
the daylight sleeper's naugual wakes
for a body of the idle kind

that speaks in riddles muted rhymes
and labrythene paths of jesting Joyce
where assonance stands guard and chimes
on onomatopoeic trysts.

For rivers run and waters foam
and dogs are dogs of many heads
no dwellings last where prospect roam
and liquid hope permits no rest

and the knowledge of the miserly
cannot withstand the yearly flooding force
and can and will and is not allowed for atrophy
as long as eight blurred legs still makes a horse

ah burning barnacles to make light
of tonal drylands and bold vertebrates
bridges? Yes, bridges burn for ashes flight
and sparks and bio luminosity and micotonal clefs

for those who walk the open scalar fields
have guns that glow and minds to blow
for those who raft down rapid vector creeks
have dreams to grow and seeds to sow---

the scalar fields part 10: Vector creek with Jo Richter

The current music scene is great because of the places where music is made and the experiments that are repeated by each personality. For individual creators, it is much more valuable to have an environment where they can come into contact with a large number of personalities than to be spread.

The night I met Inoxx & The Toxx, the city was drowning in its own reflections.

I was chasing what the department called the “Epic Journey case”: people who didn’t jump, didn’t run, didn’t die — they just stepped out of their lives after looping the same anonymous track on repeat. No body, no note. Just headphones on a pillow and a playlist full of ghosts.

Every scene looked the same. A laptop still warm. A browser paused on the same profile. One track spinning in the history, over and over: instrumental, trip-hop, strings, radio static and a heartbeat that wasn’t quite human. The last victim had renamed it “Nocturne: A Night of Wonders,” like they thought it was a private joke.

The trail pulled me uphill to a mansion that shouldn’t have had lights on at 2 a.m. Inside, the air tasted like old secrets. A grand piano waited by the fireplace. On the lid: three glasses, one half-empty, like someone had drunk their courage and left.

They were already there.

A punk with a green mohawk sat at the piano, leather jacket, Union Jack on the sleeve, fingers resting on the keys. By the window, a woman in a red dress watched the city. Her blue hair caught the glow from outside. Between them stood a tall figure in a velvet suit with an old computer monitor for a head, screen humming softly.

“Rough night, detective?” the monitor crackled. “Doesn’t look much like a Summer in Paris to me. Sit.”

I didn’t remember telling them I was a detective. I sat anyway.

The punk started to play. Slow, smoky chords. The kind of music that makes good decisions feel optional. It curled around my thoughts and dug up things I’d tried to bury. Regrets. Almosts. The people I hadn’t saved.

“That’s the one from the file,” I said. My voice sounded further away than it should have.

“In one version,” the woman murmured. “Out there they give it new names. Someone called it The Bright Side of the Moon once. Someone else named it after a person they should have let go. Some write Beware of the Quiet Girl in the title and pretend it’s not about themselves.”

She finally looked at me. Her eyes were too calm, like someone who’d seen every ending and stopped being surprised by any of them.

“The music doesn’t take them,” she said. “We don’t take them. They come here on their own. We just… give their feelings somewhere to live.”

In the corner, a tape machine turned, big reels spinning in a lazy circle. The labels were handwritten: track titles, dates, initials. I recognized some from the case files. One bartender had told me, “That song, it’s like it knows what you almost did.”

Then I saw it. My own initials. Same careful handwriting. Same date as tonight.

On the monitor, the image shifted. I watched myself open the front door, step into the room, drip on the carpet. Same coat. Same tired eyes. Same bad feeling dragging behind me like a second shadow. Behind that, another version of me. And another. Each one slightly different. A word changed here, a hesitation shaved off there. A dozen takes of the same scene.

“If you’re here,” the screen said, voice dropping into the mix, “it means you pressed play again.”

Time folded in my ears. I tried to stand, but the chords held me in place. I understood, suddenly, why no one left a note. You don’t write a goodbye letter to a song. You just hit play one more time and let it do the talking.

“That’s the real Epic Journey,” the punk said quietly, not looking at me. “Not running away. Finally letting the soundtrack match what’s inside your head.”

Moonlight slid across the room, erasing the corners. For a second, the salon didn’t feel like a place at all, more like the inside of a track: loops, echoes, reverb, tiny details you only hear on the tenth listen.

“That’s how it works here,” the woman in red said. “Nobody goes missing, detective.”

She leaned back into the shadows as the tape clicked and locked into place.

“They just stay in the song.”

The man who sold the world. YouTube: https://youtube.com/playlist?list=PLEaJAo9vVf60TYKOAhXahWnbkWi3RvvFs&si=NKf5MUNhsyGqH4Yp

ONOCHI has loved singing since childhood and has always loved acting, so we hope to continue expressing ourselves through some medium in the future.

Nakata is a trackmaker with auditory hyperesthesia.
He has been familiar with music from a young age.

N/A is a composer running away from their flashbacks.

Miogakure Andlele is an outsider artist.
Create a sound about auditory hallucinations in schizophrenia.

Atmospheric electronic | Cinematic soundscapes | Emotional depth

Crafting music for the late hours — between dream and memory.
Music carved from silence.
A slow descent into cinematic atmospheres, dark textures, and ambient emotion.





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Sketchs Day jams , samples, instruments sequences ,patchs synths, artworks , draws and photos...etc  home-made :)
It's a day's work in general, I keep the mistakes from the live arrangements, and from the instrument sequences.
Sometimes without a timeline, I try to keep an organic and improvised side, analog, digital, whatever ;)

"more fun than i deserve" 
" stepping off the ledge with desire"
NEW album released 10/31/2025 SCALAR FIELD ON BANDCAMP listen for free or own it for the price of a couple  Frappuccino's   :)

Per Bronco Karlsson: Context Creator. Singer-Songwriter. DIY Musician.

Music on SoundCloud:

Quoting Statement 052 (Single) 2025

My Favourite Female (Single) 2025

Blomster (Single) 2024

The Road (Single) 2024

Inorganic Beings (Single) 2023

The Key (Single) 2023

In the Dirt I Shall Survive (Demo Version) 2022

Thursday's Child (Single 2022)

The Schizophrenic (Single 2021)

Second Life on Mars (Single 2021)

The Box (Single 2021)

Only God Forgives (Single 2020)

Buy Sell Tomorrows (Single 2020)

Tracks from the album Kallocain The Little Match Girl 2020: Kallocain, The Fruitcake Associations Bank (with Tibet in reverse)

The Bewlay Brothers (Single 2019)

The Power and the Glory (Single 2019)

Melancholia (Single 2018)

Tracks from Mycelium 3.0 (Album 2018): The Rain (Single 2017, also on Mycelium 3.0), Hurry Love (Single 2017, also on Mycelium 3.0)

Exo (EP 2017, Exorcism on All Rickety Here)

Tracks from Retromancer (2016)

No Sociologies Accepted (EP 2015)

Tracks from All Rickety Here (2015)

Tracks from Crowgirls (2014)

Ciao! I'm a bass, double bass and guitar player but I like composing on keyboards too. Thanks for listening. Peace!

ZenGazer is music from Ian Wilhelm and co. Be warned: #dadrawk in effect. If you don’t like it, do your veggies, eat your chores, and grab my Soul Coughing vinyl off the turn table.

I'm also the bass player for The Day Afters and the defunct bands, Mercy Corps and Soma Holiday. For more on @the-day-afters visit us on the webs:

linktr.ee/thedayafters
youtube.com/@TheDayAfters

the scalar fields part 10: Vector creek with Jo Richter

stonerjazz