The Exoticist 

You know the story. The girl, the bed, the spinning head, the priests, the stairs, the window. You've heard it told by the ones who survived. This time you hear it from everyone — including the thing inside her.

The Exoticist is a 25-track gothic trap concept album that retells William Peter Blatty's The Exorcist through shifting perspectives: the mother watching her daughter dissolve into something she can't name, the priest who stopped believing before the demon ever arrived, the old soldier who has fought this thing once before and knows exactly what it costs, the girl who was twelve years old and remembers none of it, and the ancient intelligence wearing her body like a costume — patient, strategic, and contemptuous of everything that calls itself holy.

The music fuses corrupted sacred music — distorted choir, desecrated pipe organ, liturgical chant eaten from the inside — with evil trap production: suffocating 808s, cracked hi-hats, cavernous reverb and drops that feel like something falling through a floor. Every track sounds like a black mass in a children's bedroom. Every lyric sounds like a prayer that something else finished writing.

This isn't a horror album. It's a faith album. Father Karras didn't lose his belief because he was weak. He lost it because he watched his mother die alone in a city basement while he read scripture in a seminary, and the math stopped adding up. The demon didn't choose Regan because she was vulnerable. It chose her because Karras was nearby — and breaking a priest who is already halfway broken is the oldest game in hell. And when it's over — when Karras throws himself through the window and the stairs take him apart — the last thing the demon loses is not the body. It's the audience.

Two thousand years of open throat. And then the voice goes quiet.

Flesh

The Medal

The Statue in the Attic

The Stairs

Your Mother Sews Socks in Hell

A full orchestral arrangement of “God Help the Outcasts” from The Hunchback of Notre Dame (1996), originally composed by Alan Menken with lyrics by Stephen Schwartz.

The arrangement opens with the dramatic motif from “The Bells of Notre Dame”, establishing the dark grandeur of the cathedral before giving way to the quiet prayer of God Help the Outcasts. From there, the music gradually builds in intensity, expanding into a sweeping symphonic finale.

Scored for large orchestra with pipe organ.

God Help The Outcasts for Full Orchestra

One of my most recent arrangements. A grand symphonic arrangement of “You Raise Me Up,” made popular by Josh Groban.
The piece begins with a solo violin, presenting the melody in a simple and intimate setting before gradually expanding through the orchestra. As the arrangement unfolds, the sound grows into a powerful symphonic climax featuring full orchestra, choir (singing wordless “ah” and “ooh” textures), and pipe organ, creating a sweeping and dramatic interpretation of the song.

You Raise Me Up (for Large Orchestra)

Here's Kakariko Village from The Legend of Zelda: Ocarina of Time on the Organ.

Enjoy. 😊

Special Thanks to the following members for supporting me on BMC (Buy Me a Coffee):

Juke Denton, Tronald Dump, liminaldrifterr & BosnyanDave.

If you enjoy my content as much as they do and myself, then join them here or buy me a coffee: http://www.buymeacoffee.com/jonnymusic

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Sheet Music/MIDI: https://musescore.com/user/6795656/scores/32519492

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Audio exported and sequenced from Finale with Hauptwerk IX via VST Link (played on the Casavant, opus 3742 (1995), Bellevue, Washington VPO sample set produced by Sonus Paradisi)

Audio mastered with Adobe Audition CC

Track ©1998 Nintendo

Cover ©2026 Jonny Music

Kakariko Village (The Legend of Zelda Ocarina of Time) Organ Cover

Me playing the organ at St Bride's Church in Fleet Street, London.

St Bride’s is one of Sir Christopher Wren’s London ‘Church Gems’ and it was substantially damaged during the blitz in world war II. The original Gray and Davison had occupied the rear gallery and was completely destroyed. 

The present organ here was built by the John Compton Organ Company Ltd in 1957 as part of the church rebuilding following the bomb damage. In true Compton fashion it is built using the 'extension' technique and is housed in 3 fully enclosed chambers at the rear of the church with an unenclosed Positive division. Some minor changes have taken place over the years including the addition of new stops and tonal remodelling but the organ remains mostly original. 

Legend has it that the church originally looked at a Compton electrone organ but Jimmy Taylor (technical director of Compton at the time) said "you have a space for a good pipe organ - we can do you one".

In 2002 the organ was overhauled by Keith Bance of Harrow and in 2018 as a result of a lightning strike causing much damage to the electrics of both the church and the organ, Harrison and Harrison of Durham replaced the original 1950s wiring and relays with solid state.

Now for something different and perhaps unexpected. Compton were famous for their cinema organs of course (one of these survives just up the road from here at the Odeon in Leicester Square) so here is something in recognition of that - "Days of wine and roses". 

"Days of Wine and Roses" is a popular song from the 1962 movie of the same name. The music was written by Henry Mancini with lyrics by Johnny Mercer. They received the Academy Award for Best Original Song for their work as well as the 1963 Grammy Awards for Record of the Year and Song of the Year. The best-known recordings of the song were by Billy Eckstine in 1961 and Andy Williams in 1963, but several other recording artists have also recorded the song over the years including Shirley Bassey, Frank Sinatra, Julie London and Perry Como.

Days of wine and roses - St Bride's Church, Fleet Street, London (Compton organ)

From the composer: I wrote this piece for the pipe organ by imagining a transformation from this world to the next.  The plan is to enter a competition for pipe organ composition.

Alchemy

Hello everyone! I'm a hobbiest musician, composer, arranger, conductor. I've been playing the piano since I was seven, and have picked up several other instruments along the way. Through life I've been hesitant to let others hear my work, but due to recent feedback from others it seems that people like what I do, thus I'm sharing with a broader audience. Please let me know what you think! I hope you enjoy everything you hear.
Typically I compose and arrange for full, large orchestras of 80 pieces or so. However, there are a few smaller ensemble pieces that I have done for chamber groups to sell in online marketplaces. Growing up as a Christian I have noticed a huge hole in music for large orchestral arrangements of Christian/Gospel music, and I've dedicated a lot of time of the years making large orchestral arrangements of this religious music. In addition to the religious music you will find a lot of Disney arrangements, some for orchestra, some for chamber groups, and even a few for marching band. When I was in high school, there was such a lack of Disney music available for marching band, so I've set out to fill that hole.
Since I just launched this sound cloud account, I will be working to add more completed tracks as soon as I can.

Organ Cover Artist & Music Arranger.

I aim to create the World's Largest Organ Arrangements Library/Collection. You can already see the work I'm putting here, plus the sheet music I create and distribute on Musescore, at over 920 and counting.

STATIC CHAPEL
================

Let's get this out of the way first: Static Chapel is a 100% AI-generated music project. Every lyric written by AI. Every beat generated by AI. Every vocal performed by AI. No human musicians were harmed in the making of these albums. No human musicians were involved in the making of these albums. This is an experiment in what happens when you point artificial intelligence at the oldest stories humanity has ever told and say: make it hit.

Static Chapel takes classic literature — the novels, the myths, the fairy tales, the sacred texts that have been sitting on shelves and in syllabi for centuries — and converts them into full-length concept albums. Not summaries. Not adaptations. Complete narrative experiences told through music, structured track by track, act by act, the way the original authors structured their chapters. Every album is a different story. Every album is a different genre. Every album is built to make these stories approachable, visceral, and immediate in a way that a 300-page novel or a 2,000-year-old scripture sometimes isn't.

This isn't a musical. There's no stage, no choreography, no intermission. This isn't an audiobook with a beat behind it. These are albums — real albums with hooks and drops and bridges and choruses — that happen to tell the most important stories ever written. The goal is simple: if you won't read Moby-Dick, maybe you'll listen to it. If Revelation feels like homework, maybe it hits different over dubstep. If Mary Shelley's Frankenstein has been sitting on your shelf since high school, maybe the Halloween trap version will make you feel what she was actually trying to say about fathers and sons and the things we create and abandon.

Classic literature is not dead. It's just been waiting for someone to turn up the bass.

I am fanatical about organs - particularly Compton organs whether it is pipe organs or electrones.

What are the chances my newest song ends up in TV or film? Follow to support this work. Thanks for listening. 🌈 (he/him)

New tracks tagged #pipe organ