Orbit Radiate Pulse: The Videos

In October 2025, I discovered an app called Grok. It added a whole new layer to my creativity. At first, I used it for silly things, like making photos of my mom and me screaming at each other. It was really funny. But pretty quickly, I realized I could use Grok to bring my Gloria stories to life.

SIDENOTE: Gloria will be back soon. January and February were especially tough because my mom was dealing with diverticulitis. Now that she’s past that, it seems like her dementia has moved to the next level. I’ve had to spend much more time caring for her. Right now, I only have the space and energy to work on one project at a time. I’m not able to juggle three or four projects the way I’ve done over the past four years.

The first Gloria episode that used any mini‑videos was the Lil Hammertoe episode. We got to enjoy Hammer’s rapping and a duet between him and Gloria.

After five or six episodes of Gloria’s adventures, I felt inspired to try making a short film. I knew it would take some work and a few weeks to finish, since I’d be stitching together six‑second clips to create a ten‑minute film. That’s how Rick and Isabel vs. The Billionaires came to life. It was a two‑part story.

Next, I planned to make a full Gloria film—a twelve‑minute escapade. But that never got off the ground. It looked like it would take a lot of tedious work, and right around that time my mom became very sick. For about ten days, I didn’t do anything at all.

Then it hit me: I can make music videos. I jumped into the project right away. I picked five songs from my EDM album Orbit Radiate Pulse—the ones I felt would work best as music videos.

I knew it would take a good amount of work, but I truly believe in this album, so the effort felt like a joyful labor of love. The real question was how I was going to find the time to make it happen.

I was completely sleep‑deprived when I started. In January, my mom was restless and barely sleeping, which meant I wasn’t sleeping either. This went on the whole month. In early February, we found out she had diverticulitis. I had never seen her that sick. There were three different times when I thought we were losing her. February was a heavy month for me. I struggled with depression. I just wasn’t ready to lose her. I never will be.

Even with everything going on, I found small pockets of time to work on the music videos—fifteen minutes here, an hour there. Little by little, the videos came together. Each one took me about a week to finish. I built them out of six‑second segments, which helped me create videos that were artistic and still followed the theme of each song in a clear, cohesive way.

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“Diagram of Dance”

Back in the late 1970s, I was a fan of robotic‑sounding electronic vocals. When I created this song, I had Kraftwerk and Gary Numan in mind. For the video, I pictured using diagrams with footprints showing the dance steps, matching the idea behind Diagram of Dance. From there, I designed a diagram of a man dancing within those footprints.

I thought: wouldn't it be a striking visual if the diagram man slowly morphed into a retro‑futuristic figure—someone who blurs the line between human and machine. Again, Kraftwerk and Gary Numan were my prototypes for that look. I loosely based the man’s appearance on how I looked in 1988.

Next, I programmed him to perform short snippets of popular dances you’d see in an EDM or rave club, such as the Melbourne Shuffle, Cutting Shapes, Hakken, Tektonik, Headbanging, Hula Hoop, and others. I also had him do a few retro moves like the Hustle and the Twist.

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“I Love You”

For this song, I pictured a collage of sparkling love—swirls of color surrounding an iridescent heart. I believe I captured that feeling.

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“Satellite”

This video opens with two humanoid dancing figures. The main figure is a muscular, metallic dark‑blue form. The other is a smaller, androgynous, feminine‑leaning figure made of shimmering white light. They dance against a deep purple galactic background filled with swirling neon rings of pink and blue, a glowing planet, and a satellite. Everything rests on a digital‑grid floor that makes the whole scene feel like a high‑energy, futuristic dance club. The song itself is a progressive trance track with hints of industrial.

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“Sunshine”

When I watched this video for the first time, I felt excitement and joy. I turned the sun into a kaleidoscope that sends out waves of good vibrations through its colors and psychedelic shapes.

This progressive house, dream‑trance tune blends elements of contemporary R&B and smooth jazz. The song centers on finding joy and light within your inner self, carried by warm, optimistic lyrics and a catchy melodic hook. Musically, it has a steady, grooving bassline and bright synth layers that give it a feel‑good summer vibe. The layered harmony vocals add a rich, full texture. Sunshine is one of my most ambitious songs, and it took a lot of work to get it just right. It remains one of my favorites in my entire catalog.

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“Siren”

This psy‑trance track is one of my most unique and mysterious‑sounding songs. I especially enjoyed making the video because it’s the only story song on Orbit Radiate Pulse. The lyrics tell the tale of a mermaid referred to as Siren, whose kisses are poisonous and from whom no man has ever survived. The video follows the storyline closely. The mermaid dances gracefully throughout, adding a touch of dance‑club magic to the mystery.

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For your listening pleasure you can also enjoy the entire album Orbit Radiate Pulse on the following streaming sites.

Spotify:

Tidal:

Apple Music:

Amazon Music:

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Thank you, my friends. I hope you enjoyed these videos. Please let me know which one speaks to you the most.

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With love, RHC ❤️