Tony Gerber, a child prodigy of electronic music (based in Nashville) who built his first synthesizer by himself at the age of fourteen, grew up in Indiana, but his studies brought him to Nashville in 1981, where in 1983 he opened an art gallery.

Soon he also began organizing multimedia performances ("Space For Music"), for which he started composing the music. It was thus that in 1985 he opened Nashville's first digital studio, around which the local avant-garde scene focused (including, among others, Giles Reaves). Gerber became famous for his "pyrotechnic" performances, during which he plays electronic keyboards while adorned with fireworks. Today, his studio produces multimedia videos for both commercial and artistic purposes.

Blue Western Sky presents his languid and ethereal music in a more professional manner. Gerber’s abstract art is best expressed in the underwater floating of As Time Passes and the astral strumming of The Lunar Crossing.

Spacecraft is Gerber with composer John Rose and vocalist Diane Timmons. They released Spacecraft (Lektronic Soundscapes, 1997), which also features Chris Blazen and is highlighted by the 22-minute Zero One and the 10-minute Destination Infinity.

The live album Hummel (Lektronic Soundscapes, 1998) is a good survey of their art. The 16-minute The Summon is divided into two parts: the first part gets going with languid psychedelic tones of guitar that transform into an even slower and deeper spiritual "om" for buzzing electronics and distant female voice; halfway, the psychic experience fades into a robotic rhythm lulled by delicate metallic overtones. The 15-minute Hummel is a symphonic poem a` la Klaus Schulze, a quiet drama of melodic synthesizers punctuated by undulating sequencers and (after six minutes) by gamelan-like fibrillation and (after nine minutes) by hypnotic ticking which eventually (after eleven minutes) mutates into melodic whistling. Both these lengthy excursions display the narrative capacity of the musicians, who can seamlessly, smoothly, elegantly shift from one motif to the next one without causing any trauma but gradually increasing the emotional charge of the "space" that the sounds "craft". The pictorial skills of the trio are evident in the galactic chaos of Exploration in Space and in the cascading sparkles of Domes of Light. Astrollenium, a wordless and rather static psalm, introduces the (female) voice, an experiment that segues into the medieval-sounding De Profundis. But these two tracks hardly retain the magic of the instrumental suites.

Giles Reaves joined the trio on Earthtime Tapestry (Lektronic Soundscapes, 1999), a far less ambitious work. The atmosphere is mostly lively and danceable (Earthtime Tapestry, Stepping Lightly, Cycles), the soundpainting is often sterile repetition (Living World). The notable exception is the nine-minute Dreams of One, in which a female wail drifting inside a jungle of tinkling electronics creates a nostalgic and desperate mood.

The music was less carefully crafted on Kaleida Dreams (SFM, 1999), Musical Meditation for World Peace (SFM, 2001), Cybersphere (SFM, 2001), Summer Town (SFM, 2001).

Rose has released the solo album Cosmogenesis (SFM, 2001).