The Voltage isn’t just sound design or film prep anymore. It’s the same current running through two bodies — music and cinema, both alive, both dangerous.
Every track we build under Hazard 58 is a transmission from The Ascension of Moses Cohen. The movie bleeds into the mix; the mix infects the movie. When the synths distort or the bass grinds too low, that’s not aesthetic — that’s Moses wrestling with his own ghosts.
In the studio, scenes become sound. The rhythm of dialogue turns into kick patterns. The score and the story start to trade DNA. One night you’re editing a track; by morning, you’re writing a new scene because the drop demanded it.
The Ascension of Moses Cohen isn’t content — it’s an ecosystem.
Film. Music. AI. All fused into a single voltage meant to jolt something honest back into culture.
We’re not scoring a movie. We’re building a world that sings back.
