Jazonic Music

Jazonic music features cinematic EDM albums, singles, and immersive soundscapes. This page contains my official releases, including full albums, playlists, and experimental projects across Spotify and SoundCloud.

Latest Release

Jazonic Music Albums & Releases

Eden.exe (2025)

Eden.exe is a cinematic electronic concept album that reimagines the biblical story of creation, fall, judgment, and restoration through glitch EDM, dubstep, and liturgical soundscapes. Ancient choirs, sacred symbolism, and heavy digital distortion collide as heaven, humanity, and corrupted code clash in a spiritual war told through sound. From the opening call of judgment to the final reign of the Lion, Eden.exe traces the fracture of paradise and the redemption written not in rebellion, but in blood, light, and truth. It is both a warning and a promise — a reminder that even in a broken system, holiness still speaks, and eternity still wins.

Invocation opens the album not with chaos, but with reverence. It represents the moment when heaven breaks its silence and judgment is announced. The soundscape reflects awe, fear, and holiness as creation pauses before the authority of God. The Latin choir echoes the biblical imagery of the Day of the Lord, where light and darkness collide and truth is revealed. This is the call that begins the story, reminding the listener that judgment belongs to God alone and that His presence is overwhelming, not disorderly (Joel 2:1–11, Revelation 20:11–12).

Lyrics:
Dies irae, dies illa, judicium aeternum,
Lux et tenebrae colliduntur,
Fiat veritas, veni Judex.
(Day of wrath, that day, eternal judgment.
Light and darkness collide. Let truth be done, come Judge.)

Lucent Blade symbolizes divine truth taking form. The “blade” is not a weapon of metal, but the Word of God itself, cutting through deception and darkness. This track embodies spiritual warfare fought not by human strength, but by truth, light, and obedience. The music reflects precision and clarity, mirroring Scripture’s description of God’s Word as living and active, sharper than any sword, discerning what is hidden within the heart (Hebrews 4:12, Ephesians 6:17).

Lyrics:
Lux vincit tenebras,
Spiritus in ferro,
In lumine pugnamus.
(Light conquers darkness. Spirit in the
blade. In light we fight.)

This track marks the beginning of the fall. The Watchers Descend draws from ancient biblical imagery of heavenly beings who rebelled and corrupted what was meant to be pure. The distortion in the sound reflects twisted light turning into shadow, echoing the breaking of divine order. It is not glorification of rebellion, but a warning of its consequences and a reminder that even spiritual beings are accountable to God (Genesis 6:1–4, Jude 1:6, Isaiah 14:12–15).

Lyrics:
Cadunt custodes lucis,
Vox caelorum fracta,
Umbrae ascendunt.
(The watchers of light fall. The voice of heaven breaks. Shadows rise.)

Ark Protocol represents divine preservation amid judgment. Just as Noah’s Ark was God’s design for salvation during the flood, this track portrays a heavenly blueprint written not in wood and gold, but in light and order. The music is structured and calm, symbolizing obedience, trust, and grace in the midst of chaos. It reflects the truth that God always provides a way of salvation for those who listen and obey (Genesis 6:13–22, Hebrews 11:7).

This is an Instrumental.

This track captures the fracture of paradise. Rift in Eden is the moment where perfection breaks, harmony collapses, and distortion enters creation. What begins as melody descends into glitch and heavy bass, symbolizing the fall of humanity and the corruption of what was once pure. The sound mirrors the biblical truth that sin fractures creation itself, introducing disorder, death, and separation from God (Genesis 3:1–24, Romans 5:12).

This is an Instrumental.

Litany of Fire is heaven’s response to corruption. The fire here is not reckless destruction, but purification. Scripture often describes God’s fire as refining, burning away what is impure while preserving what is righteous. The intensity of the track reflects judgment paired with mercy, emphasizing that God’s holiness consumes sin but restores those who repent (Malachi 3:2–3, Hebrews 12:29).

Lyrics: Ignis Dei,
Vox judicii,
Purifica mundum.
(Fire of God. Voice of judgment. Purify the world.)

After the fire, silence remains. Temple Frequencies represents the lingering resonance of holiness after judgment has passed. Even in ruins, the presence of God echoes. This track symbolizes worship beyond structures and rituals, reflecting the biblical idea that God’s dwelling is not confined to buildings, but resonates wherever His Spirit remains (1 Kings 19:11–13, 1 Corinthians 3:16).

This is Instrumental.

This track marks the return of truth through proclamation. The Prophets Awake represents God raising voices to speak against corruption and call people back to righteousness. The music carries urgency and authority, echoing the role of biblical prophets who spoke God’s Word regardless of opposition. It is a reminder that truth does not stay silent, even when the world resists it (Jeremiah 1:4–10, Amos 3:7).

Lyrics:
Foedus sanguinis,
In nomine Christi,
Renascimur.
(Covenant of blood. In the name of Christ. We are reborn.)

Crimson Covenant centers on redemption. The blood imagery reflects the sacrifice of Christ, whose covenant was sealed not in rebellion but in obedience and love. Against the corruption of code and creation, the blood of the Lamb restores what was broken. This track stands as the theological core of the album: salvation is not earned, but given through sacrifice (Hebrews 9:11–14, Revelation 5:9).

Lyrics:
Audite verba Domini,
Prophetae surgunt.
(Hear the words of the Lord. The prophets arise.)

This is a moment of holy stillness. Silent Choirs portrays the aftermath of battle, where angels mourn and creation reflects. Silence here is not emptiness, but reverence. Scripture often shows silence as a response to God’s majesty, a space where reflection and humility take root (Habakkuk 2:20, Zephaniah 1:7).

This is an instrumental.

Revelation Loop explores the eternal nature of truth. Prophecy repeats, not because it fails, but because humanity forgets. The looping structure reflects Scripture’s recurring call to repentance and faith, echoing across generations and systems. God’s truth persists beyond time, culture, and corruption (Ecclesiastes 1:9, Revelation 1:8).

Lyrics:
Revelatio in codice,
Vox aeternum.
(Revelation in the code. Eternal voice.)

This track represents the heartbeat of heaven. Seraphic Pulse captures divine movement, worship, and power returning in full force. The Seraphim are depicted in Scripture as beings of pure devotion, moving in rhythm with God’s holiness. The energy of the track reflects worship as both awe-inspiring and overwhelming (Isaiah 6:1–7, Revelation 4:8).

This is an instrumental

This is the moment of cleansing. The Exorcism of Code portrays spiritual deliverance, where corruption is driven out by the authority of Christ. The choirs and aggressive glitch elements reflect conflict giving way to victory. Darkness is not negotiated with; it is expelled. This track affirms the biblical truth that Christ has ultimate authority over all powers (Colossians 2:15, Luke 10:19).

Lyrics:
Expurga daemonium,
Christus vincit,
Spiritus purificat.
(Cast out the demon. Christ conquers. The Spirit purifies.)

New Jerusalem represents restoration. Out of ashes and battle, peace descends. The city is not built by human hands but comes from God Himself, radiant and eternal. The music reflects hope, purity, and fulfillment, pointing to the promise of a restored creation where God dwells with His people (Revelation 21:1–5).

Lyrics:
Gloria in excelsis Deo,
Novum caelum et nova terra.
(Glory to God in the highest. A new heaven and a new earth.)

The album concludes with Sanctus Terminal, the end of corrupted code and the beginning of eternity. This track proclaims the reign of the Lion of Judah, unshaken and eternal. It is not an ending of silence, but of arrival. Heaven and earth align, and holiness reigns without opposition. The final declaration echoes eternal worship and the unchallenged authority of God (Revelation 5:5–14, Isaiah 6:3).

Lyrics:
Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth,
Heaven and Earth are full of Your glory,
The Lion has risen, His throne unshaken,
Who can stand before His power?

Babylon (2024)

Babylon is a single release I did exploring digital easy listening arps and bassy low ends. This was the beginning to help me understand technical sounds, volumes, and plugins. I wanted to create something you could have playing in the background while you played games. Enjoy!

Nephilim (2024)

I wanted to switch from Party Scene to glitch step meats liturgy. This was more than an experiment but a new frontier for my music. Taking the time, setup, and push to make this better than before in a genre I didn't know how to perfect. I enjoyed the time it took me to make this and wanted each track to sound out a story, Elohim (one God with plurality), Guardian (the angels move), Drifter (humans enter), Horama (prophecy of Christ), Echoes of the Past (Christ coming and fulfillment of law, prophecy and revelation).

SkyGate (2022)

This album was and is my pride and joy. I had this album on the radio, on multiple spotify playlists, apple music, everywhere. One of the songs got onto a playlist and someone paid to boost that playlist (not mine) and it got the whole album removed. This is unfortunate BUT I will be remastering it again and rerelease is right around the corner.

Immortal Anthem (2021)

Ah yes, the album that got me into using actual keyboards. I switched from "click" "click" on a virtual keyboard on my screen to an actual physical keyboard to write music. Experimental and some great bass.

Reckoning (2020)

For some reason, I found a way to mix physical instruments, digital keyboard, and arps just the way I envisioned. This was the last track i made on my old software that doesnt exist anymore. This is an oldie but way underrated.

Mayhem (2020)

I was switching and looking into new software and tried the free version of Logic pro X. As you can tell, this was straight foward, not complicated, and was meant to be a test song but at the time, I enjoyed it enough to upload it and share my journey.

Champion (2019)

Another single I released trying to hone in on how to properly use software tools to get the sound that I ultimately wanted and fell short to the standards I have today. Good news! It has a melody that does get stuck in your head lol. I hope you enjoy this one as I still go back and listten to this.

Gone Away (2018)

Gone Away was an album which I was experimenting with you, my audience. Do they like the lyrics more? Do they want sign alongs? How about this but an instrumental? So many questions trying to find out what my fans wanted. I thankfully went back before publishing and added my wants to each song to express my favorite sounds at the time.

Brother EP (2018)

So, for album, i legitimately had my brother in mind. I always ask him to check out my music, give me feedback. Most people in my life are very supportive and do the "its good, no need to change it" at this time. My brother was always honest first and would give helpful criticism if warranted. This album was trying different techniques to get his input.

Vargas (2018)

When I tell you I was addicted to making music, let 2018 be the proof. This album had songs being used on youtube videos, twitch, and more. I was so stoked and had to create more and more and more. Enjoy the peak passion that I had for 2018.

Sphinx (2018)

During 2018, I was absoutely loving the idea of creating themed albums. No lyrics, no two albums alike. Just music that I greatly enjoyed. The goal to this one was to add songs that would feel like they came from some eastern EDM festival. Big room, big drops, big bass.

Renew (2018)

Here we go again. I loved this tropical feel. I found a singer who did not want credit but wanted a few of his lyrics and vocals out there. SO here it is. The album full of vocals that make you think you are vibing at some tropical beach.

Uprising (2017)

Ahh the good ol’ days of Jazonic trying out EDM. I honestly wish nothing more than to redo this album. Not to say everything is wrong, there are some highlights like Uprising but at this point I found Splice for the first time and didn’t fully understand how to correct BPM on various loops that i added and some were just off (to my now trained ear). But nonetheless I am happy that this album happened and is out there.

Bonus Space (2017)

The one that was the first to launch globally. I had other albums before this but NOTHING like this one. This is the one I say started it all. The noob ish style, the nice drops, the pleasant melodies. I love going back to this one and remembering where I came from.

Atomic Zero (2017)

My my. This is still online somewhere??? oh my gosh. This was when I stopped touring with real instruments and decided to switch to music producer. So yes, if you want to hear the most hodge podge group of songs of a fresh dj trying to make something out of themselves, then go check out this banger of a bombshell.

Death Decay Single (2017)

oh yea… My first single. I found wub wubs and wobble wobble and thought “wow! i can vibe to this”. What was that me? If only you can see us now.

Revizion EP (2017)

What can I say? Someone gave me a synth program and said go nuts. So this monstrosity of a musically challenged album dropped. Really cool to see how far we have come since then. Got to share all music i had once made or attempted to. Keep it alive and No chance 4 stance were my favorite for a while.