This show is called "Phantasmagoria", and "P12a" is a shorter name for it.
P12a is a modern rock opera, retelling Dante's Divine Comedy in three acts.

This is the first of three LPs. Each one contains one act of the rock opera.
Act 1, Autocremation, introduces us to "The Dreamer", a vice-ridden sinner.
Follow along as our sleeping protagonist must now confront terrible demons.

Phantasmagoria is a real word that means, "a sequence of dream-like events".
This is a one-of-a-kind psychedelic trip through hell, purgatory and heaven. 
It's quite unlike anything you have ever seen or heard of, in all your life past.

I made this all with a great deal of consideration, effort and love, mainly alone.
The journey to this Magnum Opus began in early 2016, and I've kept at it since.
I've constantly ideated, iterated and polished it all for nearly a decade. Enjoy. <3

1.05 - Underwriting (Wall Street Beat) - P12a, Act 1

Dante's Inferno, Sixth Circle: Heresy / Ересь

Heresy

318@Nicea is an orchestral composition, in A major, celebrating the First Ecumenical Council of Nicea (325AD). It is Nicea, where 318 bishops from around the world gathered to assert the divinity of Jesus Christ, and denounce the heresy of Arius. 

The composition commemorates, in 2025, exactly 17 centuries (1700 years) since that significant Council of Nicea. The timing of the composition was by coincidence. For so many years, I had a persistent urge to celebrate the Council of Nicea in some artistic form. I had a novel or some form of drama in mind, but only last year I found myself venturing into this music composition.

The piece is composed of 318 music bars, almost by coincidence, a bar for each of the bishops in attendance at the Council of Nicea. The title of the piece reflects this, and I elected to add a Coptic subtitle, shomt she mit-eshmin khen Nikea, which means 318 at Nicea. This is homage to the great Coptic Orthodox Church that spiritually and doctrinally led the Council, through St Athanasius of Alexandria. It is St Athanasius who led the authorship of the Nicene Creed that is the basis for Christians’ belief in Christ the Lord, around the world. 

To guide the listener, I provided below a brief description for each of the ideas that inspired me through the composition. A time mark for each of these ideas is included.

0:00 – 2:40 Church of Alexandria and its spiritual growth. I included a couple of motifs that allude to two well-known tunes of the Coptic Orthodox Church, Evlogimenos (0:23-0:27; sung on Palm Sunday), and Golgotha (1:27-1:30; sung on Good Friday and adopted from burial rituals from the Pharaonic era).

2:41 – 4:12 Arius, his fall in heresy, and the danger the Church faces.

4:13 – 5:08 Sad divisions within the universal Church.

5:08 – 6:27 Constantine the Great calls a council to address the Arian heresy.

6:28 – 7:39 St Athanasius and Pope Alexandros prepare their defence of Christ and travel from Alexandria to Nicea.

7:40 – 8:43 Triumph of St Athanasius and the Church at Nicea against Arius and his heresy.

8:44 – 10:17 The Church is united in faith, condemning Arius.

10:18 – 10:47 Bishops develop the Nicene Creed based on faith of Christ’s divinity. 10:18-10:21 is a music motif (phrase) that reflects the sound uttered when one vocalises the word “Ho-moou-si-os” (ὁμοούσιος). This was the key term at the Council of Nicea, meaning “of the one and same essence”, when referring to the nature of Christ, being of the same and one essence with the Father. This motif is repeated in that section, to reflect the agreement that bishops had at Nicea, that this is indeed their faith. The celesta is clearly audible in this part, to symbolise the Divine guidance that led the Council of Nicea to have this faith in Christ. That is, it was the Holy Spirit who led the Council to assert Christ’s Divinity, as being of the one and same essence as the Father.

10:47-11:47 this is a military march, a reminder of the endorsement by the Roman Empire of the outcomes and canons of the Council of Nicea. It is based on a rhythm that Roman legions played at the time, when marching for war and during their military parades. It has a tempo of 120bpm and a time signature of 4/4, 4/4, 4/4, and 3/4 over a 4-bar unit that is repeated 8 times (a 32-bar section).

11:48 – 12:58 Continued spiritual growth of the Church. The Coptic Orthodox Church describes this during its liturgy, when reading Acts of the Apostles (Praxis): “the word of the Lord shall grow, multiply, be mighty, and be confirmed in the holy Church of God, Amen”.  

If you’ve come so far in this description, one thing remains that can make all the difference: lift up your heart to the Holy Trinity that He may unite all Christians in the one faith. The Scriptures teach us that there is  "One Lord, one faith, one baptism" (Ephesians 4:5).

Composer/Orchestrator: Kyrillos Guirguis
Copyright: Kyrillos Guirguis, 2024

YouTube link: https://youtu.be/2Q9plYlf1b8

318@Nicea

318@Nicea (Shomt She Mit-eshmin Khen Nikea)

Christianity is generally focused on right thinking to determine who's in and who's out. Therefore doctrines and creeds are at the core of what it means to be a Christian. Throughout the history of the church, heresy (wrong thinking) has been dealt with swiftly and often violently. Whose job is it to determine is a belief is heretical?  Do we have a 21st century version of "burning heretics at the stake"?

What Do We Do With Heretics?

Rouge Carmin

By far the most technical and most satisfying DJ session so far. Industrial Crossbreed Hardcore 🖤 Almost exclusively records from  the Heresy label over the years. Play it hard and enjoy!

Video: https://www.youtube.com/watch?v=q5lUXMdEsgk

Tracklist:

Igneon System - Identity Relapse (HERESY)
Igneon System - Crisis Situation (VIP Mix) (HERESY)
Nanostorm - Cleaner Ways Don't Win Wars (HERESY)
Rude Awakening - Crop Circle Making Dominating Whore Abuser (HERESY)
Visceral - Touch it, Turn It (HERESY)
Dither & Igneon System - Murder Shit (HERESY)
The DJ Producer - Reference Points (HERESY)
Dither - Fowyc (HERESY)
Dolphin & Deathmatchine - MNML (HERESY)
Visceral - Zephos (HERESY)
Tugie & Igneon System - Cardinals of Carnage (HERESY)
The DJ Producer - Back to the oldskool (HERESY)
The Satan - Take your soul with you (HERESY)
The Satan - Vengeance (HERESY)
The DJ Producer - Future Incognito (HERESY)
Hellfish - The Decimator (HERESY)
Wavolizer - Sometimes (HERESY)
The DJ Producer - Seperation from god (HERESY)
Nosferatu - Underground Calling (Thunderdome Records)

HERESY LABEL TRIBUTE (CROSSBREED INDUSTRIAL HARDCORE DNB) LIVESET

In this podcast, i describe the world of the new indie tabletop wargame "Trench Crusade", discussing it's lore and history to pique the interest of listeners.

No Faith, We Die in the Trenches by Mhervy Garcia

The Finnishing Dutch's NääsTek crew mix.

01. The Panacea feat. AC Slater - Ravemusic Resurrected
02. Counterstrike  & COOH - Computer Control
03. Ki-Real - Virus
04. Ferox - Fear(ox) 
05. Nosferatu - Turntable Action
06. Predator - Turbulence (Hellsystem Remix) 
07. Nitre - Crowd Control (Manic Remix) 
08. Crypt - The 9th Circle 
09. Trypticon - Soul Reaver 
10. Ectomorph - The Beginning Of The End 
11. Detest - Ultra Deth 
12. Nonexistent - Blender 
13. Predator - Human Blood (DJ Arjuna Remix) 
14. Kirlian - Pure Evil  
15. Manic - Own Demise  
16. Despairful Tomorrow & Xenophex - Viral Mind  
17. Nanostorm - Cleaner Ways Don't Win Wars
18. DJIPE & The Outside Agency - A Stone Called Killer 
19. Ophidian - Theory Of Nothing
20. Predator & Wicked XXX - Cutz 2 Ya Neck 
21. Painbringer - Real Thunder 

NääsTek Crew Mix: The Finnishing Dutch

"The priest who wrote down this book (The Book of Margery Kempe" pictured, in the British Library) , in order to test this creature's feelings, asked her questions many different times about things that were to come - things of which the outcome was unsure and uncertain to anybody at that time - asking her, through she was loath and unwilling to do such things, to pray to God and discover when our Lord would visit her with devotion, what the outcome would be, and then truly, without any pretending, tell him how she felt, or else he would not have gladly written the book....

And so this creature partly compelled by the fear that he would not otherwise have follwowed her intention in writing this book, did as he asked her and told him her feelings as to what would happen in such matters as he asked her about, if her feelings were true. And in this way he tested them of their truth. And yet he would not always give credence to her words, and that hindered him..." Book 1. Chapter 24.

Note the nervousness of her amanuensis and their uneasy relationship, asking her to ask God (for example) whether people who seemed plausible in the present would continue to be so in the future, much against her inclination. She reluctantly divines how a plausible young man will betray the trust he currently enjoys for this purpose, rather like Miss Marple on a high-powered interview panel correctly advising against the dodgy candidate to whom the experts gave the job.

The recurring qualifications in the text, that she saw God "in her soul", "in the city of her soul" that He spoke to her "in her mind" that her tears make her weak "in her bodily strength" perhaps reflect the tension of the enterprise. While such qualifications sometimes advocate her genuine credentials, (look, she said this would happen and it did) they often they seem to be steering her though potential heresies and gaffes as well ( as with all the potential Lollard assertions about not needing to confess sins to a priest in this track.) It's like writing a book with a canonical lawyer, meticulously underwriting your vision. 
lyrics
I cut a dash through Bishop’s Lynn,
Proud daughter of its Mayor,
My cloaks with modish tippets slashed,
And gold pipes in my hair.

I burned to die, I sinned a sin
That’s never been confessed
- Except to God - a Lollard sin
To hold it in my breast.

This Book I weep in blood
Up from the heart’s deep well
Would drown the earth in heaven tears
And church the tongues of hell.

But hearing heaven’s Song of Songs
I shun the gutter’s Ouse
And though you rule me, husband, priest,
A single life I choose

And every pilgrim step I trudge
From wedlock’s grave mundane
And married flesh and churchman’s plot
Is singing with God’s name.

This Book I weep in blood
Up from the heart’s deep well
Would drown the earth in heaven tears
And church the tongues of hell.

I bend my will to holy men,
Confessors clerks and seers
Yet drown their prayers and sermons in
A Noah's Flood of tears.

I wash away my sins with tears
That heaven and earth should meet.
My heart is bleeding as I kiss
His tender face and feet.

This Book I weep in blood
Up from the heart's deep well
Would drown the earth in heaven tears
And church the tongues of hell.
credits
from A Mass of Carols For Margery, released December 25, 2022
https://peacocks-tale.bandcamp.com/album/a-mass-of-carols-for-margery  Tune by Vanessa Wood-Davies arr Peacock's Tale. Words © Gareth Calway 2016.


This Booke I Weep In Blood

I had to try a wicca beat, super fun to record 
Indie pop song next:) 

CREDS:
(prod. @metlast)
(@nevermoreboy)

LYRICS
Now I walk a path that I began so long ago
And my life, it lacks the structures for a frame to cast out my shadows
And you know me, so you know I’ve been the night for all this time my dear
But it seems as though the stars slip through my hands every year

So I'm gonna go back to being me, and I hope to find you there 
And I'm wandering as if I’ve been possessed, 
so help me dear

I'm wandering as if I’ve been possessed so, help me dear 
Just you look up at the skies, I aligned the stars because I like your stare
And ignore me if you must, but I’ll still adore you when you’re unaware 
And it’s desperation to say the least but it’s only for you

So I reached out to the stars but I was only reaching for you 
And I love to complain but I could never complain about you 

Now I walk a path that I began 
so long ago
And my life, it lacks the structures for a frame
to cast out my shadows
And you know me so you know I’ve been the night for all this time, my dear
But it seems as though the stars slip through my hands every year

ive been the night, ive seen the stars (prod.metlast)

Developer of interactive online media, hobbyist skydiver, professional voice actor, musician and business owner. Producer of musical scores & independent video games. Past exploits and destinations include the Eiffel Tower, Stonehenge, Chichen Itza, X'Caret, Cozumel, Old Faithful, coast-to-coast in the US and Australia, Shakespeare's home, Canada, PAX East, Burning Man, Alcatraz, and Shakespeare's Globe Theater, among others. Co-presented on stage with Kevin Mitnick and Steve Wozniak. Met and chilled with quite a few celebrities and luminaries, including Michael Dell, Dr. Vinton Cerf, MC Frontalot, mc chris, MC Lars, Tahmoh Penikett, Alona Tal, Richard Speight, Misha Collins and Jared Padalecki. Hobbies include skydiving, bungee jumping and free climbing. Once waterskied on the noses of dolphins.

Tampere, Finland based UG Rave Organizer. Free Party/Teknival ideology driven collective of various minds, who share the love for fast paced music.

Industrial Acid/Techno/(Hard)Core DJ / 📍 Essen (Antwerp, Belgium)

🎧 Into unknown 'B sides' and industrial 'raw' sound within electronic music 🎶 #Industrial #Core #Acid #Psytrance #Hardtechno #Underground 🖤

Follow me for the newest livesets/music 🎛️

✉️ Booking: info@jaycee.be

A marriage (and we are actually married, 45 years so far) of melody and rhythm. We do folk, indie, Americana, Norfolk noir, beat poems &  ghazals. Traditional tunes with contemporary beats. Music videos  https://www.youtube.com/channel/UCb8wV0-DNiFs1R5G2VSytBQ
Maz lead & harmony vocals, acoustic guitar. Gaz vocals, voice, bass, drums & percussion, harmonium, recorders, lyre harp, field recordings.

Kyrillos Guirguis is an Australian composer who has been passionate about music since early childhood. His music is influenced by both Middle Eastern music, including Coptic Christian, and Western classical music traditions. His compositions occasionally use the Arabic and Coptic maqams (scales/modes) that utilise micro-tonality (quarter tones), giving his music a rich flavour. He enjoys orchestrating his own music, utilising principles developed by some of the great orchestrators such as Rimsky-Korsakov.

Kyrillos has been learning and playing the lute (oud) for several years. He uses the lute for most of the compositional process, which tends to focus on melody. However, his strong music theory and broad intimate knowledge with various instruments enable him to orchestrate effectively and compose for a wide variety of genres and ensembles. 

Kyrillos loves the oboe, bassoon, and the French horn, and can't resist including them in his orchestrations.

Kyrillos has only recently started to share his music with others, bringing to the world wonderful music that has deep spiritual meanings. The Valley Winds Ensemble, Massachusetts, considers him a composer with “strong compositional skills”, attesting to his abilities to write music that inspires others and appeals to both musicians and listeners alike.

One of the scholars at the Melbourne Conservatorium of Music described his compositional style as "evocative, setting him apart in the Western contemporary classical idiom".

Kyrillos is currently completing his postgraduate music studies at the Melbourne Conservatorium of Music, with a focus on music composition.

Kyrillos continues to compose inspiring music that is loved by many fans around the world. He is also pursuing opportunities to collaborate and to support others in their musical journeys.

Please subscribe to my YouTube channel: www.youtube.com/@kyrillosguirguis9825

Techno and House, Timeless, Sweet or Acid & Trance, Deep or Clash. Dark, Disco or Funky but Underground.. You are about to enter in my little musical world. 

Not a producer. 
Just a music lover. 
Since 96

more info, message me

New tracks tagged #Heresy