Opening track off the new album. Starts off with an array of samples from famous moments in time traveling along an old internet startup connection, then breaks out into some crazy electronica EDM beat with plenty of psytrance, orchestral and cinematic elements.

The album will contain various sorts of electronica, Goa trance, EDM, and hybrid cinematic orchestral styles. Enjoy!

Composed arranged and produced by Phil Justin.

#edm #psytrance #electronica


The Thin Line

Beethoven: Moonlight Sonata Op. 27 No. 2 First Movement for 2 Harps and Orchestra (arr. by Phil Justin)

The Piano Sonata No. 14 in C-sharp minor, marked Quasi una fantasia, Op. 27, No. 2, is a piano sonata by Ludwig van Beethoven. It was completed in 1801 and dedicated in 1802 to his pupil Countess Julie "Giulietta" Guicciardi.[b] The name Moonlight Sonata (German: Mondscheinsonate) grew popular later, likely after Beethoven's death.
The piece is one of Beethoven's most popular compositions for the piano, and it was a popular favourite even in his own day.[1] Beethoven wrote the Moonlight Sonata in his early thirties, after he had finished with some commissioned work; there is no evidence that he was commissioned to write this sonata.

The first movement,[c] in C♯ minor and alla breve, is written in modified sonata-allegro form.[24] Donald Francis Tovey warned players of this movement to avoid "taking [it] on a quaver standard like a slow 128".[19]
The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a "lamentation",[citation needed] mostly by the left hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo (pp) or "very quietly", and the loudest it gets is piano (p) or "quietly".
The adagio sostenuto tempo has made a powerful impression on many listeners; for instance, Berlioz commented that it "is one of those poems that human language does not know how to qualify".[25] Beethoven's student Carl Czerny called it "a nocturnal scene, in which a mournful ghostly voice sounds from the distance".[1] The movement was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Czerny, "Surely I've written better things".[26][27]
In his book Beethoven's pianoforte sonatas,[28] the renowned pianist Edwin Fischer suggests that this movement of this sonata is based on Mozart's "Ah Soccorso! Son Tradito" of his opera Don Giovanni, which comes just after the Commendatore’s murder. He claims to have found, in the archives of the Wiener Musikverein, a sketch in Beethoven's handwriting of a few lines of Mozart's music (which bears the same characteristic triplet figuration) transposed to C♯ minor, the key of the sonata. "In any case, there is no romantic moon-light in this movement: it is rather a solemn dirge", writes Fischer.

Arranged and produced by Phil Justin. Scored in Sibelius 8 and NotePerformer 5. Mastered in Adobe Audition.

This is the 2.0 version. The score needed a bunch of touch ups, and the harp parts needed some more arrangements between the two harps for better flow and performance. The mix and master itself needed a bunch of work and needed to be better equalized, using Sonible Smart EQ 4.


Beethoven: Moonlight Sonata Op. 27 No. 2 First Movement for Orchestra (arr. by Phil Justin)

We Are The Game Changers is a dark cinematic symphonic/electronica piece using samples primarily from a public speech by Richard Dolan on the UFO subject, as well as related samples by other researchers and politicians.

The album will contain various sorts of electronica, Goa trance, EDM, and hybrid cinematic orchestral styles. Enjoy!

Composed arranged and produced by Phil Justin.


We Are The Game Changers

Bali Ha’i is basically a retro-future piece from the new album, a cover song pulling influences from both 2000’s Goa Trance and 1950’s exotica and tiki lounge. There’s also a lot of digital turntable work in the middle. This piece is all over the place with its hybrid symphonic and electronic elements.

“Bali Ha’i” was originally written by Richard Rodgers (music) and Oscar Hammerstein II (lyrics) for their 1949 musical South Pacific, which was based on James A. Michener’s Pulitzer Prize–winning book Tales of the South Pacific (1947).

Story Behind “Bali Ha’i”:

In the musical, “Bali Ha’i” is a mysterious, dreamlike island visible from the main island where American military personnel are stationed during World War II. The song is sung by Bloody Mary, a Tonkinese merchant woman, to entice the young Lt. Cable to visit the island—her intention is to introduce him to her daughter, Liat.

While Bali Ha’i is fictional, it’s based on Ambae Island (formerly Aoba) in Vanuatu, which Michener saw from Espiritu Santo during his wartime service in the South Pacific. The name itself is inspired by Bali, but it’s not meant to reference the real island of Bali in Indonesia.

The song captures themes of longing, escape, seduction, and the mystical allure of the exotic—a perfect fit for the exotica genre later made popular by Martin Denny, Les Baxter and others. The melody is lush and haunting, and its mood of dreamy mysticism helped it transcend the musical and become a pop standard in the 1950s. I felt it deserved a Goa Trance remix, should we called it Tiki Trance? Trancexotica? ;)

The new album by Shatter the Matrix will contain various sorts of electronica, Goa trance, EDM, and hybrid cinematic orchestral styles. Enjoy!

Composed arranged and produced by Phil Justin.


Bali Ha'i

Hyperion, a track off the new electronica album, is just old-school industrial throughout, influenced by groups like Skinny Puppy and Ministry, and peppered with a lot of cinematic coloring. Though the title and artwork of the song were influenced by Dan Simmon’s “Hyperion Cantos”, the song pulls its samples from movies like Armageddon, The Green Mile and The Abyss. If you like old 80’s and 90’s industrial music, this song is a nod to that.

The album will contain various sorts of electronica, Goa trance, EDM, and hybrid cinematic orchestral styles. Enjoy!

Composed arranged and produced by Phil Justin.

Hyperion

Another track off the new album.

‘Tang Go!, well…is a tango.

What kind of a tango I really couldn’t tell you, I’m pulling influence from everywhere on this one. But it’s definitely some of my favorite piano work. All kinds of electronic and orchestral elements in this one. A fun piece and alot of detail.

The album will contain various sorts of electronica, Goa trance, EDM, and hybrid cinematic orchestral styles. Enjoy!

Composed arranged and produced by Phil Justin.

'Tang Go!

Another track off the new album. Abduction is a dark cinematic ambient/electronica piece, sounding exactly as it is titled. It’s basically soundtrack music to an alien abduction.

The album will contain various sorts of electronica, Goa trance, EDM, and hybrid cinematic orchestral styles. Enjoy!

Composed arranged and produced by Phil Justin.

#cinematic #aliens #electronica


Abduction

SugarFunk Avalanche is actually a sketch I wound up junking ages ago, but blew off the dust and turned it into this. This song actually isn’t on the next album, but will be on the following project. Of course I say that while I'm deciding if I want to use it in this project :D

A lot of songs I’ve been working on for the current album just started taking on a life of their own and mutated into something far different than the electronica project I’ve been working on this year. The following project after this electronica one will be alot more like this tune; crazy funk metal jazz blues stuff with alot of bass, guitars and drum kits. 

Every piece I compose always evolves into some unknown territory, you NEVER know where things are going to end up; they always write themselves. So you’re getting a taste of the future here; probably a 2026 album. Albeit the RETRO FUTURE, since I already see this project pulling a lot from the 60’s through the 80’s in terms of influence, especially in the metal and funk genres.

I was aiming for 16 tracks for the electronica album (12 done and uploaded so far), I wound up with about 30. Many of those will spill over into the next project.

Composed, performed, arranged and produced by Phil Justin ©2025

SugarFunk Avalanche

Kalli,…….Rain

Another track off the new album.

This piece is a hybrid of electronica and orchestral sounds, with piano holding it all together. Call it a ballade, call it a score, call it whatever, it’s just a song about a woman named Kalli in the rain. A soundtrack to another time and place.

The album will contain various sorts of electronica, Goa trance, EDM, and hybrid cinematic orchestral styles. Enjoy!

Composed arranged and produced by Phil Justin.

#cinematic #piano #electronica

Kalli,.......Rain

Angkor Wat

And another track off the new album.

Angkor Wat is a track I did a few years back and wanted to touch up. It pulls influence from dubstep, electronica, East Asian world music and 50’s exotica
 as well. There’s also a music video for this tune, based on Cambodia Buddhist Apsara dancing. I’ll drop that once it gets touched up and tweaked.

The album will contain various sorts of electronica, Goa trance, EDM, and hybrid cinematic orchestral styles. Enjoy!

Composed arranged and produced by Phil Justin.


Angkor Wat

The Monster’s Coming

Almost wrapping up the new album at this point. One track left after this.

Sometimes pieces just write themselves. I had no idea this was going to go in this direction, but here we are. The Monster’s Coming is a hybrid between cinematic horror music and symphonic metal with alot of electronica elements. I really don’t know what to call it otherwise, but its definitely a dark track. Plus I always like writing for drums and there’s alot of toms in this piece. Enjoy it :)

The album will contain various sorts of electronica, Goa trance, EDM, and hybrid cinematic orchestral styles. Enjoy!

Composed arranged and produced by Phil Justin.

The Monster's Coming

Phil Justin is a composer, performer, arranger and producer. He has done projects under the monikers of Ozone Ghost, Pleiadian Agenda, and Shatter the Matrix, as well as other projects and working with bands and artists. Phil also writes alot of orchestral music for both soundtracks and the performing arts, as well as huge orchestral transcriptions of famous piano works. Phil Justin currently has over a dozen album projects: ranging from bombastic symphonic scores to many styles of electronica, as well as funk, jazz, metal, rock, world music and solo piano. Enjoy it :)