On May 15, 2026, I released Gloria Patri — Songs of the Holy Trinity, a sacred music album created under my artist name Yehoshua of Ēatūn.

This album is different from some of the other music I have been creating.

Where The Flame Remains and the Quiet Light psalm projects grew directly out of The Keeper’s Lantern and the spiritual language of The Way of Quiet Light, Gloria Patri stands as something more traditional, more liturgical, and more deliberately centered on one of the deepest mysteries of the Christian faith:

One God.
Father, Son, and Holy Spirit.
The Holy Trinity.

This is not simply a collection of religious songs. It is an album built around confession, worship, Scripture, doctrine, and reverence. It reaches toward the sound of the church: the cathedral, the choir, the organ, the ancient hymn, the prayer spoken across generations.

Why Gloria Patri?

The title Gloria Patri comes from one of the most enduring doxologies of the Christian tradition:

Glory be to the Father, and to the Son, and to the Holy Spirit.

That simple phrase carries the whole purpose of the album.

This project is a musical offering of praise to the Triune God. It is not trying to reinvent Christianity, soften it into something vague, or turn worship into mere atmosphere. It is meant to be clear, reverent, and rooted.

The Father creates, sustains, and reigns.
The Son redeems, shepherds, and intercedes.
The Holy Spirit comforts, sanctifies, and gives life.

The album moves through those themes with a sound that leans heavily into sacred tradition: cathedral choir, organ, orchestral arrangements, hymn-like melodies, and a slower, more prayerful pace.

It is music meant to feel less like entertainment and more like worship.

A More Traditional Sacred Album

In many ways, Gloria Patri — Songs of the Holy Trinity became the traditionalist centerpiece of my sacred music work so far.

Some of my earlier projects carried the language of lanterns, quiet light, wilderness, perseverance, and spiritual endurance. Those themes remain deeply important to me. But this album steps closer to the heart of historic Christian confession.

It is about the God we worship.

Not merely God as an abstract force.
Not merely spirituality as a feeling.
Not merely faith as personal comfort.

But God revealed as Father, Son, and Holy Spirit.

That distinction matters.

Christian worship has always been Trinitarian at its core. We pray to the Father, through the Son, in the Holy Spirit. We are baptized in the name of the Father, and of the Son, and of the Holy Spirit. The shape of Christian faith is not random. It is deeply ordered, deeply beautiful, and deeply sacred.

That is the atmosphere this album tries to enter.

The Track List

The album includes thirteen tracks:

1. Holy, Holy, Holy

2. Be Thou My Light

3. A Mighty Fortress Stands

4. Great Is Thy Mercy

5. Fountain of Mercy

6. Glory Be Forever

7. I Believe

8. Gloria Patri

9. Agnus Dei

10. The Shepherd Leads Me

11. Under the Shadow

12. We Believe

13. Our Father in Heaven

The structure moves through praise, confession, mercy, creed, surrender, protection, and prayer.

Some songs are more hymn-like. Others feel more like sacred meditations. Some draw from ancient Christian language, while others are written in a way that feels more direct and accessible. But all of them share the same centre: worship of the Triune God.

Songs of Worship and Confession

A song like Holy, Holy, Holy immediately places the listener in the language of worship. It is not casual. It is not light. It begins in reverence.

I Believe and We Believe carry the character of creed and confession. These are not songs about vague optimism. They are songs about what Christians confess to be true.

Agnus Dei brings the focus to Christ, the Lamb of God, and the mercy of the Son.

Our Father in Heaven closes the album in prayer, returning everything to the words Christ gave His disciples.

That was important to me. I did not want the album to end in spectacle. I wanted it to end in prayer.

The Sound of the Album

The sound of Gloria Patri was designed to feel sacred, spacious, and ancient.

The album leans into:

• cathedral-style atmosphere

• choir and layered vocals

• pipe organ and orchestral textures

• slow, reverent pacing

• traditional hymn structure

• solemn but hopeful worship

This is not meant to be background noise for scrolling. It is meant to be listened to with attention.

It is the kind of music I imagine playing in a quiet room, in the early morning, during prayer, during reflection, or while trying to reconnect with the deeper foundations of faith.

There is a kind of stillness in this album. Not emptiness. Stillness.

The kind that invites you to stop speaking for a moment and remember that God is holy.

Why This Album Matters to Me

I have been building a wider body of creative work: books, articles, music, spiritual reflections, and projects connected to The Way of Quiet Light.

But Gloria Patri matters because it points beyond the project itself.

The purpose of sacred art should never be to trap attention on the artist. It should lift the eyes upward.

That is what I wanted this album to do.

I wanted to create something that could stand as a musical act of worship. Something rooted in faith. Something that does not apologize for Christian doctrine. Something that honours the Father, the Son, and the Holy Spirit without watering down the mystery.

The Trinity is not a puzzle to be solved like a math problem. It is a mystery to be confessed, worshipped, and approached with humility.

Music can help us do that.

Sometimes the heart understands through worship what the mind struggles to fully explain.

Released May 15, 2026

With its release on May 15, 2026, Gloria Patri — Songs of the Holy Trinity now joins my growing catalogue of sacred music under Yehoshua of Ēatūn.

It is, in many ways, one of the most explicitly Christian and doctrinally centered releases I have made so far.

It is not just an album about faith.

It is an album of worship.

It is an album of confession.

It is an album of praise.

Final Reflection

At the heart of this project is a simple act of doxology:

Glory to the Father.
Glory to the Son.
Glory to the Holy Spirit.

That is what Gloria Patri means.

That is what the album is for.

Not noise.
Not performance.
Not self-promotion.

Praise.

And in a world that is so often loud, distracted, confused, and spiritually exhausted, maybe one of the most important things we can still do is return to worship.

To kneel again.
To listen again.
To confess again.
To remember again.

Glory be forever.
The flame remains.

I’m grateful to officially announce that my latest album, The Everlasting Light, was released on April 18 and is now available across all major streaming platforms under the artist name Yehoshua of Ēatūn.

This album is a much larger and broader work than my first release, containing 21 tracks — more than double the size of The Flame Remains. Where that first album was focused more narrowly, The Everlasting Light expands outward into a wider collection of psalms and hymns, drawing from material that stretches from the medieval era through the 1800s.

That range is part of what gives this album its character.

It brings together music shaped by centuries of Christian devotion, prayer, worship, and reflection, while also carrying it through the spirit of The Way of Quiet Light. Each hymn or psalm included in the album is framed with a brief opening and closing commentary in that spirit, helping guide the listener into and out of the song in a way that reflects the larger vision behind the work.

Because of that, the album is not simply a collection of familiar sacred titles. It is a reworking and presentation of them through my own creative and devotional lens.

The versions included here have been specially adapted for this album, with lyrics prepared in my own form and held as my own copyrighted work. That matters to me because this project is not merely about reproducing older material. It is about receiving it, shaping it faithfully, and carrying it forward in a way that is both reverent and personal.

Musically, the album moves across a wide range of tones and textures.

Some of the songs are very light, gentle, and reflective. Others are far more cinematic, powerful, and expansive in their arrangement. The album opens with a very beautiful rendition of Amazing Grace, and it closes with The Lord’s Prayer, presented in a form that remains essentially unmodified. Between those two points, the album travels through some of the most enduring hymns of the Christian tradition, gathered together into a single body of work.

Track List

1. Amazing Grace

2. A Mighty Fortress Is Our God

3. Be Thou My Vision

4. When I Survey the Wondrous Cross

5. All Hail the Power of Jesus’ Name

6. Come, Thou Fount of Every Blessing

7. Abide with Me

8. Rock of Ages, Cleft for Me

9. Holy, Holy, Holy! Lord God Almighty!

10. Praise to the Lord, the Almighty

11. Nearer, My God, to Thee

12. Jesus, Lover of My Soul

13. O Sacred Head, Now Wounded

14. My Jesus, I Love Thee

15. Take My Life and Let It Be

16. Joy to the World

17. O Come, All Ye Faithful

18. Hark! The Herald Angels Sing

19. Silent Night

20. Doxology (Praise God from Whom All Blessings Flow)

21. The Lord’s Prayer

This album represents an important next step in the musical side of my work. It reaches beyond a single thematic release and into a wider inheritance of sacred song. It is rooted in history, but it is also personal. It is devotional, but it is also interpretive. It is reverent toward what has been handed down, while also shaped by the spirit in which I have chosen to carry it forward.

That is what The Everlasting Light is meant to be.

A gathering of old voices.
A continuation of sacred song.
A meeting place between inheritance and expression.
A work shaped by faith, history, and the quiet light that continues to guide all that I create.

The album is now available across all major streaming platforms.

Thank you to everyone who has supported my music, my writing, and the larger body of work that continues to grow through both. I’m deeply grateful for every listen, every share, and every person who chooses to walk alongside this journey.

The Everlasting Light is now here.

Yehoshua of Ēatūn

Though they were released together for Easter, these songs come from two very different places.

One is deeply personal — a song about survival, meaning, calling, and the light that led me back.
The other is explicitly sacred — a song dedicated to the resurrection of Christ and the victory of Easter morning.

Together, they belong to Easter.

The Light Led Me Back

This song is personal in a way that is difficult to describe lightly.

The Light Led Me Back begins in remembrance — reflecting on what I witnessed on September 10, 2025, and the way that moment affected me. In the months that followed, I carried questions, weight, and a growing sense that what I had gone through in my own life, especially my near-death experience, was connected to a deeper understanding I had not yet fully grasped.

Over time, that understanding began to take shape.

This song speaks to the realization that the light I encountered when I almost died did not bring me into heaven or hell because it was not my time. Instead, the light led me back. And through everything that has unfolded since September 2025, I have come to understand that return differently — not as an accident, not as unfinished confusion, but as part of a greater calling.

That is what this song is about.

It is about survival.
It is about meaning.
It is about context finally arriving after a long season of pain, uncertainty, and reflection.
And above all, it is about the truth that the light led me back for a reason.

The Day the Stone Was Lifted

If The Light Led Me Back is a personal testimony, The Day the Stone Was Lifted is an Easter proclamation.

This song is dedicated to the resurrection of Christ — to the victory, hope, and holy triumph at the heart of Easter Sunday. Where Good Friday carries the sorrow of the cross, Easter carries the joy of the empty tomb. It is the day death was defeated, the day grief was broken open by glory, and the day hope stood up alive.

That is the spirit behind this song.

The Day the Stone Was Lifted is a musical declaration of resurrection — a song shaped by praise, reverence, and the central Christian confession:

Hallelujah, He is risen.

It was important to me that this song be released on Easter itself, because it belongs to Easter in every sense. It is not simply inspired by the resurrection in a broad way. It is dedicated to it. It was written to honour the risen Christ and the meaning of that day.

Available Across All Major Platforms

Both singles are now available for streaming across major platforms, including:

Spotify
Apple Music
iTunes
Instagram & Facebook
TikTok & other ByteDance stores
YouTube Music
Amazon
Pandora
Deezer
Tidal
iHeartRadio
Qobuz
Saavn
Boomplay
Anghami
NetEase
Tencent
Claro Música
Joox
Kuack Media
Adaptr
Flo
MediaNet
Snapchat
Roblox (beta)

These two songs were released together for Easter 2026, but each carries its own voice.

One speaks from personal return.
One speaks from resurrection.
One looks back at what the light revealed through survival.
One looks to Christ, risen in glory.

Together, they form my Easter Sunday release.

Yehoshua of Ēatūn

Though released together on the same day, these are two very different pieces in theme, tone, and origin. One is deeply personal, reaching into my own experience of mortality and return. The other is centered on the crucifixion of Christ and the solemn weight of Good Friday itself.

They belong together in release, but each carries its own story.

The Sound of Silence, I Returned

This piece is rooted in my near-death experience in 2020.

There are moments in life that divide everything into a before and an after. Experiences that do not simply leave an impression, but alter the way one hears silence, the way one understands fear, the way one carries memory, and the way one regards the fact of still being here at all.

The Sound of Silence, I Returned comes from that place.

It is a deeply personal work, shaped by the reality of having passed through something that felt like the edge of life itself and then returning from it. Because of that, the song is not merely reflective in a general sense. It is bound up with survival, memory, confrontation, and the strange and difficult weight of continuing on after an experience that cannot easily be reduced to ordinary language.

That is part of why this song matters so much to me.

It is not simply a release. It is a testimony in musical form — personal, serious, and inseparable from what I lived through.

Into Your Hands

If The Sound of Silence, I Returned is personal, Into Your Hands is explicitly devotional.

This single is based on the crucifixion of Christ, and because of that, Good Friday was the right day for its release.

Good Friday is not merely a date on the calendar. It is a day of remembrance, grief, reverence, sacrifice, and holy weight. It turns the mind toward the suffering of Christ, toward surrender, toward the cross, and toward the words spoken in the final hours of His earthly life.

Into Your Hands was created in that spirit.

It is meant to reflect on the crucifixion with seriousness and reverence, drawing its heart from that moment of surrender, suffering, and obedience. Where one song reaches into a personal confrontation with death and return, this one turns toward the death of Christ Himself — not as abstraction, but as the center of Good Friday’s meaning.

That is why these two songs were released together.

One speaks from personal experience.
One speaks from sacred remembrance.
One looks at returning.
One looks at surrender.

And together, they formed the right release for Good Friday.

Both singles are now available for streaming across all major platforms.

Available On

Spotify
Apple Music
iTunes
Instagram & Facebook
TikTok & other ByteDance stores
YouTube Music
Amazon
Pandora
Deezer
Tidal
iHeartRadio
Qobuz
Saavn
Boomplay
Anghami
NetEase
Tencent
Claro Música
Joox
Kuack Media
Adaptr
Flo
MediaNet
Snapchat
Roblox (beta)

If you listen, thank you.

If you share them, thank you.

And if you’ve been following this musical work as it continues to grow, thank you for being here as these songs go out into the world.

Yehoshua of Ēatūn

I’m grateful to finally make this announcement officially:

The Flame Remains, my first album released under the artist name Yehoshua of Ēatūn, is now available across all major platforms as of March 28.

This release marks the beginning of the musical branch of my work — a body of music rooted in faith, reflection, reverence, and the spiritual world that has also shaped The Keeper’s Lantern and The Way of Quiet Light. With this album, those written psalms begin to take on musical form.

The Flame Remains is also dedicated to my mother, Joy Millett.

That dedication matters deeply to me. I wanted this first release to carry not only the beginning of a new chapter in my work, but also a personal note of love, gratitude, and remembrance. It felt right that this first album should be tied to someone whose place in my life is meaningful, lasting, and worthy of honour.

This album consists of ten tracks, each one presented as a psalm:

Track List

1. Psalm I: The Calling of the Keeper

2. Psalm II: The Lantern Bearer

3. Psalm III: The Narrow Path

4. Psalm IV: The Returning Dawn

5. Psalm V: The Eternal Flame

6. Psalm VI: The Watchful Keeper

7. Psalm VII: The Quiet Voice

8. Psalm VIII: The Gathering Light

9. Psalm IX: The Guiding Lantern

10. Psalm X: The Everlasting Light

These songs emerge from the same deeper world that gave rise to The Keeper’s Lantern. From the beginning, I felt that these psalms were not meant only to remain on the page. They carried rhythm, prayer, and atmosphere in a way that seemed naturally suited to music. This album is the first full realization of that instinct.

And this is only the beginning.

Under the name Yehoshua of Ēatūn, I will continue releasing psalms, hymns, singles, and other gospel-related music in the time ahead. But The Flame Remains is where that journey begins publicly — the first full release, the first gathering of these songs, and the first step in carrying this musical work forward.

The album is available across major streaming and music platforms, making it accessible wherever listeners prefer to hear new music.

Thank you to everyone who has supported my writing, my books, my reflections, and now this music as well. I’m deeply grateful for every person who reads, listens, shares, and walks alongside this work.

This is the first album.
This is the first flame.
And it remains.

Yehoshua of Ēatūn

With the artist's name now officially introduced, I wanted to make a simpler and more direct announcement:

Yehoshua of Ēatūn is now here.

This section of the Substack will serve as the central place for updates related to my music — including new releases, album announcements, singles, reflections on the creative process, and other news connected to the musical side of my work.

For those who have followed my writing and the broader work surrounding The Way of Quiet Light and The Keeper’s Lantern, this is the branch of that work dedicated specifically to music: psalms, hymns, singles, and other gospel-related releases published under the name Yehoshua of Ēatūn.

This is where that side of the journey becomes easier to follow.

My music will be available across a wide range of streaming and purchase platforms, making it possible for listeners to find it in the places they already use most.

Music Platforms

You will be able to find my music on:

Spotify
Apple Music
iTunes
Instagram & Facebook
TikTok & other ByteDance stores
YouTube Music
Amazon
Pandora
Deezer
Tidal
iHeartRadio
Qobuz
Saavn
Boomplay
Anghami
NetEase
Tencent
Claro Música
Joox
Kuack Media
Adaptr
Flo
MediaNet
Snapchat
Roblox (beta)

My goal is simple: to make this music widely accessible, easy to find, and available wherever people listen.

This section here on Substack will also serve as a place for ongoing updates, so if you want to keep up with new music, upcoming releases, album details, and other announcements, this is where those posts will appear.

Official Links

You can also follow my work and connect with my official pages here:

Official Facebook Page:
https://www.facebook.com/YehoshuaofEatun

Official YouTube Channel:
https://www.youtube.com/@Yehoshuaof%C4%92at%C5%ABn

Official Instagram Account:
https://www.instagram.com/yehoshuaofeatun

Official TikTok:
https://www.tiktok.com/@yehoshuaofeatun

Spotify Artist Page

Apple Music Artist Page

Amazon Music

Main Hub:
https://www.quietlight.org/s/yehoshua-of-eatun

As this project continues to grow, I’ll be using this space to share new releases, major updates, and the ongoing development of the music itself.

Thank you to everyone who has supported my work, whether through writing, books, reflection, prayer, or now through music as well.

This is only the beginning.

Yehoshua of Ēatūn