Chapter One: A New Journey in Sound and Story
There’s something about ancient Egypt that has always fascinated me — not just the monumental architecture or the mystery of its gods, but the sense that its stories are still alive, whispering through the sands. For a long time, I’ve wanted to create something that captures that feeling — something that blurs the line between myth and music, between narrative and soundscape.
That’s how The One True God – Chapter One was born.
This project began as a spark of an idea — part of my effort to build a YouTube channel where music and story evolve together over time. I had been thinking about ways to create not just videos, but chapters — self-contained yet connected pieces that would make people want to return for the next part of the journey. I realized I already had the perfect source material for such a series: my fantasy novel, The One True God.
The Birth of a New Project
The novel is set in ancient Egypt at the end of Akhenaten’s reign — a time of spiritual upheaval, hidden power, and fading gods. It follows a young man named Sayah, whose hunger for knowledge leads him to forbidden places. He and his friend Aye travel to the Capital, hoping to gain admission to the mysterious Lodge — a secret brotherhood that studies the divine sciences. But Sayah soon learns that his reputation has already preceded him. Among the priests, he’s infamous for dabbling in forbidden magic — the kind that can change the very structure of life itself.
In Chapter One, Sayah’s curiosity — and his unshakable sense that the world is not as it seems — sets everything in motion. It’s a story about the price of knowledge, the seduction of power, and the cost of being chosen for something you don’t understand.
The Scene That Started It All: Forbidden Magic
The first short from the film is called Forbidden Magic. It captures the moment when Sayah is captured by a shadowy cult known as The Oracle. These priests are keepers of the old ways — a dark echo of Egypt’s dying gods. Believing Sayah to be the key to their victory over the Red Land, they perform the very ritual he once sought to understand.
In doing so, they rip open a doorway between body and spirit. Sayah’s soul separates from his flesh, yet remains bound to it, like a guardian tethered by invisible chains. His spirit becomes his body’s eternal protector, defending it from harm even when Sayah himself has no control over it.
It’s the ultimate paradox — immortality born of violation. The Oracle believes they have created a god. Sayah knows only that he has become something other than human.
The track Back to the Red Land provides the musical heartbeat for this scene. It’s one of those pieces that seemed to write itself — slow-building, cinematic, and haunted. I wanted the sound to evoke both wonder and danger, to make you feel as though the air itself were charged with invisible power.
🎵 Back to the Red Land – Listen on SoundCloud
The Scene on the Cliff
The second short, Scene on the Cliff, is the moment where myth is born. The evil magus Pawah, leader of The Oracle, takes Sayah to a high cliff above the desert and hurls him off before a crowd of followers. But Sayah’s spirit catches him in midair and returns him to the top unharmed. The crowd falls to their knees — they believe they’ve seen a god.
For me, this scene is all about transformation. It’s the point at which Sayah’s humanity begins to erode under the weight of belief — both his own and others’. It’s also a powerful metaphor for how people create their gods: through fear, spectacle, and misunderstanding.
The music here is Tea With the Alien, which many listeners will recognize as one of my more otherworldly pieces. It’s playful in parts, eerie in others — a sound that drifts between worlds just like Sayah himself.
🎵 Tea With the Alien – Listen on SoundCloud
The Attack on the Old Capital
The third short, Attack on the Old Capital, moves the story into full epic mode. Sayah, manipulated by Pawah and The Oracle, is used as a symbol — a living god whose presence justifies their campaign of conquest. Under his name, The Oracle’s army sweeps across the desert toward the Old Capital, declaring that The One True God has promised them victory.
Of course, it’s all a lie. The Pharaoh, hearing of the rebellion, sends his armies to meet them — and The Oracle is crushed. The desert swallows their dream, leaving only ruin and silence.
This scene’s score, Secrets of the Heart (Finale), captures the tragic grandeur of that fall. It’s a movement from my Secrets of the Heart suite, and it always felt to me like music written for lost empires — beautiful, doomed, and unforgettable.
🎵 Secrets of the Heart (Finale) – Listen on SoundCloud
The Attack on the People in the South
The final short from Chapter One — Attack on the People in the South — mirrors the first campaign but with a darker tone. Desperate to reclaim their power, The Oracle turns its wrath on a southern city. Once again, Sayah’s presence is used to inspire the troops. But this time, even the illusion of divinity cannot save them. They are defeated again, forced to retreat deeper into the desert.
By now, Sayah’s journey has turned inward. He has begun to see that “The One True God” may not be a being at all — but an idea, a force that moves through all things, including him. It’s both his curse and his awakening.
The Music and the Myth
One of the things I’ve loved about this project is how seamlessly the music and the story have merged. The One True God – Chapter One is not just a film — it’s an audio-visual suite. The music doesn’t just accompany the story; it tells it.
In fact, when I was scoring these scenes, I didn’t think in terms of background music. Each track had to function as part of the narrative — like an invisible character, expressing what the people on screen could not. The crescendos and pauses, the harmonic shifts, even the instruments themselves — all of it was part of the storytelling.
This is the essence of Dizzy Rock: a fusion of rock, narrative, and imagination. It’s a world where songs are chapters, melodies are symbols, and rhythm is emotion. I want each piece to pull you into the story so completely that you forget whether you’re watching a film, reading a book, or listening to a record. You’re just in it.
The Novel Behind the Film
If you want to go deeper into this world, you can. The full novel, The One True God, is available on Amazon. It expands on everything seen in Chapter One — the mysteries of The Lodge, the rise of The Oracle, and the deeper question of what “godhood” really means.
It’s both a fantasy and a philosophical exploration — a story about how power reshapes faith, and how belief can both create and destroy.
A New Kind of Series
This is only the beginning. Each chapter will be its own short film — part story, part concert, part vision. The next chapters will continue Sayah’s journey as he confronts both his destiny and his creators, traveling from the inner deserts of Egypt to the inner deserts of his soul.
I think of The One True God series as an experiment — not just in storytelling, but in connection. It’s about how music can carry myth, how sound can hold emotion, and how one artist’s dream can evolve into something much larger than himself.
The Next Evolution of Dizzy Rock
Every project I do seems to open another door. The One True God feels like the next evolution of Dizzy Rock — a genre that’s becoming less about “rock” in the traditional sense and more about the architecture of imagination. It’s about building sound worlds that you can walk around in; stories that echo through chords, harmonies, and cinematic rhythm.
Music has always been magic. The ancients knew it — and The One True God is, in a way, my attempt to rediscover that.
So, step into the desert.
Follow the sound.
And remember — not every god begins in heaven. Some are born from a song.
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