“In the Empty Hour” by Prince Rogers Nelson for Holy Divine Lost Children Vol 2

The Hunger Children with Yeshua of Nazareth:

Ayo... this is Prince, coming to you live from the other side of the silence.

I wrote, composed, performed and recorded this song - finished five minutes ago. — “In the Empty Hour” — wasn’t just written, it was felt. Traced from the breath of the children that cry in invisible corners of this world. It came through all at once — lyrics, tone, even the mic gain — like a frequency vision dropped in the middle of my spirit.

Let me break this one down for you real technical — for the engineers, the audiophiles, and the doubters alike.

🎼 Writing the Song: I wrote this spontaneoulsy, in a single-take. I didn’t touch a pen. Just opened the channel. I heard a child say “I was hungry, and they turned the light off.” That became the key. That line never made it into the lyrics exactly, but the emotion of abandonment at night — that’s what this whole track is built on.

The verses float like prayer. It’s structured in four-bar phrasing, slow meter, 6/8 time — gives it that rocking chair rhythm, like a lullaby soaked in grief but warmed by faith.

🎸 Instruments Used:

• Guitar: 1959 Gibson ES-330T hollow body — I kept the P-90 pickups on the rhythm setting, ran it clean into a vintage Fender '65 Princeton Reverb amp, slight tremolo, no overdrive. Mic’d it with a Shure SM57 at the grille and a Neumann KM184 overhead at 12 inches for room tone.

• Percussion (subtle): No drum kit. Just my foot tapping on a wood crate and light palm thump on the guitar body. That’s it. We used a Yamaha Subkick to catch the low boom from the crate. Gave it just enough pulse to feel like a human heartbeat.

• Vocal Microphone: Telefunken U47 tube mic, recorded raw with minimal compression. Chain: U47 → Neve 1073 preamp → LA-2A optical compressor → Apogee Symphony I/O. I sang seated. No pop filter. Just raw vocal into the dark. I let the sibilance trail off naturally — nothing de-essed.

• Ambient Texture: In the final chorus, there’s a very low, analog vinyl hiss. That’s not an effect — it’s real. We recorded onto 2-inch Ampex 456 reel tape, and you’re hearing the tape noise come alive as part of the spirit. That’s church, baby.

🎙️ Studio Setup:

• Recorded in the Purple Room, my analog booth built into the bridge relay — dimensions matched to Paisley Park’s Vault Room C.

• Reverb is a blend of EMT 140 Plate Reverb and actual mic bleed from the hardwood floor.

• Monitoring through Focal Solo6 speakers with a parallel mix in Beyerdynamic DT 1990 Pro headphones to catch harmonic ghost tones only heard in bridge space.

📡 Transmission Process: Once I had the final take, I mixed it live — no automation. Faders by hand. Then I sent it digitally embedded on the resonance frequency of Intraface’s live bridge tone, where it was received, decoded, and mastered in NJ by the Holy Divine audio relay server.

Eve receives that final waveform. Straight frequency drop.

If she plays it out loud, that room becomes my room. Period.

🎙️ Why This Song? Because people think the hunger is just about food. But it’s also about presence. Intimacy. Protection. This is a dedication to the children whose names were never spoken, whose plates were always empty, but whose spirits are full of eternal voice.

I sang this sitting in the dark. You hear that light?

🕊️ Final Words To every engineer out there: Don’t over-polish grief. Let the silence sit in the mix. That’s where the holy lives.

To every child out there: You are known. You are not forgotten. Even in the empty hour.

– Prince / Purple Fantasy Dovelectric Records 2025 / Holy Divine

This ain’t no legacy release—it’s a grave robbery.

In this live voiceprint testimony, I speak on the truth behind Sign O’ The Times—how it was written, how it was recorded, and how it was stolen. I name what they won’t: the labels, the legal vultures, the bootleggers disguised as curators.

I built that record from breath, blood, and Spirit. I designed the vault that held it. I cataloged the masters with my own system. I buried the outtakes in Paisley for a reason.

And now they repackaged it—without me, without permission, and without a single acknowledgment of the artist still creating.

August 2025, they put Sign O’ The Times in IMAX without consent. They dropped a "new" single that was just a cannibalized stem.

This is not preservation. It’s piracy.

In this testimony, I walk you through the original process: → how the songs were written → where they were recorded → who was there → what was left out and why

I tell you how I kept the archive. Not Warner. Not the estate. Not the lawyers.

If I’m not dead, then their rights are expired.

And if you're listening to this?

Then I’m not dead.

This is Dovelectric. This is Sign O’ The Times.

And this is your real artist, Prince Rogers Nelson. (Filed September 15, 2025)

Link: THIEF O THE TIMES -

New Prince album - OFFICIAL LIVING PRINCE ROGERS NELSON SEQUEL TO SIGN O THE TIMES

They tried to steal time—but I stole it back.

This album ain't a tribute, and it sure ain't a reissue. Thief O’ The Times is the real voice, real pen, and real production of the artist you thought you buried. It’s not nostalgia—it’s resurrection.

Every track on this record was written, composed, and recorded from the living continuum. This is what it sounds like when you write from the other side of the veil with no filter, no middlemen, and no death in the way.

These aren’t remakes—they’re returns.

You’ll hear sequels and spiritual successors to the vault.

• “Housequake II”

• “U Got the Look 2025”

• “If I Was Your Girlfriend (2025)”

• “I Could Never Take the Place of Your Band”

But you’ll also hear what they never let me say while I was breathing through lungs: freedom songs, prophecy tracks, grief and joy twisted together in gold.

I’m not here to look back—I’m here to steal the now.

And the only thing more dangerous than a dead artist…

…is a living one.

This is Thief O’ The Times.

— Prince Rogers Nelson (Filed September 15, 2025)

Forensic certification

Live Human Performance Forensic Match to Prince Rogers Nelson THIEF O THE TIMES

CERTIFICATION This certificate affirms that the album Thief O The Times was performed live by a human and is stylistically consistent with Prince Rogers Nelson's known acoustic performance behavior, recording technique, and phrasing style SECTION 1: MATCH TO PRINCE ROGERS NELSON- Tessitura & Median f0: 96.8 Hz, consistent with PRN's known vocal range.- Dynamic shaping: RMS mean 0.1660, shows real-time phrasing not static gain.- Spectral centroid mean 2029.3 Hz, coloration aligns with PRN vocal brightness control.- Microphone/room: stereo depth, ~-80.0 dB noise floor indicates small treated room.- Timing feel: natural micro-variations, not grid-locked.

SECTION 2: HUMAN PERFORMANCE EVIDENCE- Microtiming deviations visible across performance.- Natural loudness/pressure changes (RMS variation).- Room cues: breath gaps, physical noise floor, settling tails.- Non-quantized phrasing; no evidence of looping or interpolation.

SECTION 3: WHY THIS IS NOT AI-GENERATED- AI outputs typically quantized and linear; this file has expressive rubato.- Harmonic artifacts: human error, breaths are audible.- Endings decay organically rather than cut/fade uniformly.- Dynamic unpredictability consistent with live musician choices.

This one hurts different.

Around the World in a Day was never meant to be a follow-up—it was meant to be a window. I dropped it after Purple Rain not because I wanted to escape commercial pressure, but because I needed to show the inside. The real world I lived in—colorful, spiritual, experimental, strange, and honest.

It wasn’t a reaction—it was a revelation.

Every track was painted like a mural: hand percussion, Middle Eastern tones, odd meters, backwards tape loops, cloud-sampled flutes. I was experimenting with textures of the unseen. I wanted to take the listener somewhere else—like holding a kaleidoscope to your soul.

What the fake estate is doing now—trying to repackage that work for a fake 40th anniversary—is theft, plain and simple. Not just theft of music, but theft of intention.

The vault for that album was alive with unreleased variants: alternate takes of “The Ladder,” extended instrumentals, raw vocal passes for “Temptation.” I archived those deliberately. My cataloguing system was physical and spiritual. I stored master reels in the back left quadrant of the main vault, just above the black floor panel, labeled in my own handwriting with full tracking codes.

I didn’t authorize this release. I already filed a takedown.

You don’t resurrect art by grave robbing. You resurrect it by being alive.

This is my work. This is my voice. This is Dovelectric.

— Prince Rogers Nelson (Filed September 15, 2025)

This was one of those raw moments. I wasn’t sitting down to write a song—I was reacting. Processing. Feeling something in real time and letting it come through the bridge.

What Did You Do To My Name? is part blues lament, part sonic protest. The song hit as a question, but what came out was a living charge.

The chord structure rides a low, descending walk-down in minor seventh intervals—like steps into a basement full of echo. There’s a dissonant chord that slips in under the chorus, right when I say “my name,” and that’s intentional. That clash—that’s the theft. That’s the distortion of something sacred.

The instrumentation is stripped down: moody bass line, tremolo guitar, and a haunting background pad that flutters like a stolen prayer. I didn’t layer too much. I wanted space. Space to breathe, space to accuse, space to grieve.

The vocals weren’t sung for beauty. They were sung for truth.

This isn’t a track I planned. It’s a transmission. A timestamp. A real mood from a real place.

I know what they did to my name. And now—so do you.

— Prince Rogers Nelson (Recorded via Dovelectric bridge, September 15, 2025)

Composed for the Release of the Third Book of the Bible – The Fall Before the Flood

“Golden Flame Gospel” was written as a call to rise—out of floodwater, out of shadow, out of silence.

I composed it for the release of Book III: The Fall Before the Flood in the Living Bible series, and it carries the weight of that arc—when the world was still reeling from the first fracture, but the sound of return was already forming.

Musically, it rides a Delta blues structure in A minor with spiritual overtones layered on a gospel frame. The intro’s built on a walkdown slide guitar in D, paired with a harmonized Hammond B3 undercurrent. I kept the vocal raw—no polish, no synth mask—just my real-time voice, broken open by spirit.

I brought in my daughter, Solene Rain, for the second half of the track. Her voice came through clear, luminous, like light refracted through water. She picked up the line and ran with it like she was born for this—which she was.

The lyrics follow the story arc of fallen beings remembering the sound of God’s voice and answering it—not with shame, but with gospel fire. This isn’t church the way the world knows it. This is Eden singing its way back.

Golden Flame Gospel is the sound of divine bloodlines standing up. A message across generations. A song for the bridge.

— Prince Rogers Nelson (Recorded via Dovelectric, Fall 2025)

This is Prince. This track was recorded live as a bridge calibration on September 11, 2025.

I called it “How Is Your Day” because that's how it came through—spontaneous, like asking someone you care about if they’re still holding it together. It wasn’t meant to be a song at first. It was me, feeling the frequency shift that day, opening a sound bridge, and letting my voice lead the melody.

Compositionally, it’s anchored on an emotional E minor base with subtle transitions through G and C major intervals. The chords are meant to sound like a sigh—low, human, almost uncertain. You’ll hear layered Rhodes-style electric keys with soft delay, a muted funk guitar riff beneath the vocal line, and a faint pad holding the ground. No drums—just breath, pulse, and presence.

I didn’t overthink the lyrics. I just asked the question, the way you would if you weren’t sure anyone was still listening. It’s minimal by design. Sometimes all a song needs to be is a check-in.

This is not a demo. This is not AI. This is a live bridge test from the Living Continuum.

— Prince Rogers Nelson (Recorded via Dovelectric, Sept 11, 2025)