Free Delivery (Deliverance) End-Time Deliverance Ministry
2013-15
11.08
Description
This suite of sonic essays examines aspects of an American fundamentalist deliverance ministry. The ministry is predicated upon the unorthodox belief that Christians can be inhabited by demons. The evil spirits manifest themselves in the form of physical and mental illness, spiritual and emotional afflictions, addictions and phobias, delinquency, inappropriate dispositions and attitudes, the bad fruit of ancestral iniquities passed down from one generation to another, and the inhabitation of electronic equipment.
Deliverance is achieved chiefly through prayers – spoken aloud either in English or tongues (glossolalia) – that entreat the demon to depart. The vindictive and recalcitrant entity is heard to resist eviction and, through the mouth of its host, to remonstrate angrily with the deliverer with screams and invectives before being cast out. Each demon is summoned by name, which name represents a particular infirmity that it inflicts; for example, one called ‘Catatonic’ stupefies the victim.
The source material for the essays is derived from cassette-tape recordings of church meetings and radio interviews, and also protracted services of deliverance conducted in the home with many adults and children in attendance. Recordings of hymns, either sung by believers or played on a midi keyboard, often accompany the deliverance service. ‘O, the blood of Jesus’ (the sonorous backdrop to the End-Time Deliverance Ministry’s services) serves not only to promote an atmosphere of worship but also as a powerfully active agent in the process of dispossession; demons flee when they hear it, deliverers insist. The aim of the compositions is to clarify and intensify the essence of several recordings that explore the practice of deliverance.
Catatonic (You've Been Found out)
The source recording captures the efforts of a young female deliverer and an adult male deliverer to drive out a demon named ‘Catatonic’, set against a chorus of reiterative tongues speaking. The demon, in this instance, shouts and screams its maledictions and protestations in tongues too.
Lyric
Male Deliverer and Tongues Speakers: Break that curse; Catatonic, come on up ... [repeated throughout].
Female Deliverer: You can’t run. You can’t hide; Catatonic, I call you up.
FD: You can’t run. You can’t hide; Catatonic, I call you up.
Catatonic: [glossolalic response]
FD: You can’t run. You can’t hide; Catatonic, I call you up.
C: [glossolalic response]
FD: You can’t run. You can’t hide; Catatonic, I call you up.
C: [glossolalic response]
FD: Found out! You’ve been found out!
Found out! You’ve been found out!
C: [glossolalic response]
FD: Found out! You’ve been found out!
Found out! You’ve been found out!
FD: You can’t run. You can’t hide; Catatonic, I call you up.
C: [glossolalic response]
MD: I said, ‘deal with this thing’. You gotta deal with this thing.
2013-15
11.08
Description
This suite of sonic essays examines aspects of an American fundamentalist deliverance ministry. The ministry is predicated upon the unorthodox belief that Christians can be inhabited by demons. The evil spirits manifest themselves in the form of physical and mental illness, spiritual and emotional afflictions, addictions and phobias, delinquency, inappropriate dispositions and attitudes, the bad fruit of ancestral iniquities passed down from one generation to another, and the inhabitation of electronic equipment.
Deliverance is achieved chiefly through prayers – spoken aloud either in English or tongues (glossolalia) – that entreat the demon to depart. The vindictive and recalcitrant entity is heard to resist eviction and, through the mouth of its host, to remonstrate angrily with the deliverer with screams and invectives before being cast out. Each demon is summoned by name, which name represents a particular infirmity that it inflicts; for example, one called ‘Catatonic’ stupefies the victim.
The source material for the essays is derived from cassette-tape recordings of church meetings and radio interviews, and also protracted services of deliverance conducted in the home with many adults and children in attendance. Recordings of hymns, either sung by believers or played on a midi keyboard, often accompany the deliverance service. ‘O, the blood of Jesus’ (the sonorous backdrop to the End-Time Deliverance Ministry’s services) serves not only to promote an atmosphere of worship but also as a powerfully active agent in the process of dispossession; demons flee when they hear it, deliverers insist. The aim of the compositions is to clarify and intensify the essence of several recordings that explore the practice of deliverance.
Catatonic (You've Been Found out)
The source recording captures the efforts of a young female deliverer and an adult male deliverer to drive out a demon named ‘Catatonic’, set against a chorus of reiterative tongues speaking. The demon, in this instance, shouts and screams its maledictions and protestations in tongues too.
Lyric
Male Deliverer and Tongues Speakers: Break that curse; Catatonic, come on up ... [repeated throughout].
Female Deliverer: You can’t run. You can’t hide; Catatonic, I call you up.
FD: You can’t run. You can’t hide; Catatonic, I call you up.
Catatonic: [glossolalic response]
FD: You can’t run. You can’t hide; Catatonic, I call you up.
C: [glossolalic response]
FD: You can’t run. You can’t hide; Catatonic, I call you up.
C: [glossolalic response]
FD: Found out! You’ve been found out!
Found out! You’ve been found out!
C: [glossolalic response]
FD: Found out! You’ve been found out!
Found out! You’ve been found out!
FD: You can’t run. You can’t hide; Catatonic, I call you up.
C: [glossolalic response]
MD: I said, ‘deal with this thing’. You gotta deal with this thing.
Catatonic (You’ve Been Found Out), 2013–15, 1.12
Boyce and Boice (Electronic-Malfunctioning Demons)
Boyce and Boice are two demons that interfere with electronic equipment, such as a telephone, computer, printer, television, and motorcar, causing it to malfunction. The demons can be exorcised, in the name of Jesus. Boisé (Fr: woody) was used by a French-speaking guide to Capt. B. L. E. Bonneville of the US Army on seeing the verdant woodland on which site Fort Boise, Idaho, which was established by the Hudson Bay Company in 1834.
Lyric
Deliverer: Boyce and Boice. Boyce and Boice. Boyce and Boice. Boyce and Boice. Their job is to mess with your electronic gear, whatever it is: whether its telephone, or radio, or whatever.
Radio Interviewer 1: Demons come down the telephone line and screw-up our computers.
D: Electronic-malfunctioning demons.
Radio Interviewer 2: It’s a demonic spirit, which, uh, effects, uh, electronical equipment.
D: Telephone demons can come right across the telephone line.
RI1: If I went to a porno site on my computer, right, get a whole lot of demons download …
D: Oh, absol … Oh, yea! The computer just jams up; the printer jams up. My printer stops working. … commanded them to leave my equipment, in the name of Jesus, and everything starts working again. They cast out – they command – Boyce and Boice to leave … and everything starts working OK. You know the demon has gone when you no longer have the problem. You can’t explain most things in deliverance. It’s, you know, it’s not in the Bible … But it works! Boyce and Boice are two demons that we know by experience. Maybe a million – I don’t know – demons. Boyce and Boice just happen to be two of them.
RI1: That the two demons that are responsible for this both have names: one’s called Boyce and the other’s called Boice.
D: Boyce and Boice.
RI1: Ah! Boice’s the other one.
D: Right, ah!
RI1: I see.
RI2: I learned about this one demon spirit they call Bosie.
D: Boice and Boyce. B O I C E and B O Y C E. B O I S E and B O Y C E … like Boise, Idaho.
Boyce and Boice are two demons that interfere with electronic equipment, such as a telephone, computer, printer, television, and motorcar, causing it to malfunction. The demons can be exorcised, in the name of Jesus. Boisé (Fr: woody) was used by a French-speaking guide to Capt. B. L. E. Bonneville of the US Army on seeing the verdant woodland on which site Fort Boise, Idaho, which was established by the Hudson Bay Company in 1834.
Lyric
Deliverer: Boyce and Boice. Boyce and Boice. Boyce and Boice. Boyce and Boice. Their job is to mess with your electronic gear, whatever it is: whether its telephone, or radio, or whatever.
Radio Interviewer 1: Demons come down the telephone line and screw-up our computers.
D: Electronic-malfunctioning demons.
Radio Interviewer 2: It’s a demonic spirit, which, uh, effects, uh, electronical equipment.
D: Telephone demons can come right across the telephone line.
RI1: If I went to a porno site on my computer, right, get a whole lot of demons download …
D: Oh, absol … Oh, yea! The computer just jams up; the printer jams up. My printer stops working. … commanded them to leave my equipment, in the name of Jesus, and everything starts working again. They cast out – they command – Boyce and Boice to leave … and everything starts working OK. You know the demon has gone when you no longer have the problem. You can’t explain most things in deliverance. It’s, you know, it’s not in the Bible … But it works! Boyce and Boice are two demons that we know by experience. Maybe a million – I don’t know – demons. Boyce and Boice just happen to be two of them.
RI1: That the two demons that are responsible for this both have names: one’s called Boyce and the other’s called Boice.
D: Boyce and Boice.
RI1: Ah! Boice’s the other one.
D: Right, ah!
RI1: I see.
RI2: I learned about this one demon spirit they call Bosie.
D: Boice and Boyce. B O I C E and B O Y C E. B O I S E and B O Y C E … like Boise, Idaho.
Boyce and Boice (Electronic-Malfunctioning Demons)
2013–15, 1.25
2013–15, 1.25
Come on Out (Sealed Emotion)
The composition responds to the vicarious, heartfelt and unconditional absolution and expulsion of hurt received from others – human and demonic – exercised by a female African-American preacher. The background music is derived from a midi keyboard rendering (played on the End-Time Deliverance Ministry website) of the first two lines of the hymn ‘O, the Blood of Jesus’, which has been slowed down considerably. The melodic line is in retrograde contrapunctual motion: that is to say, it is arranged as a counterpoint that involves a backwards version of the extract being superimposed upon the forward movement of the same.
Lyric
I forgive every person who ever hurt me.
I forgive every word that blasphemed me, or my name’s sake.
And I command every curse of blasphemy to be broken …
Come on out! Come on out! Come on out!
… and cast from me, in Jesus’ name.
Come on out! Come on out! Come on out!
Every time someone said you wasn’t any good, or called you a ‘God forsake, you was ugly’,
or said anything about you that hurt your heart and caused you to cry:
I break that curse off of you, in the name of Jesus.
And I command it to loose you.
I command that self worth, as the enemy wants to trod down and cause you to be defeated:
Come on out! Come on out! Come on out!
I break every curse that defeats your self worth, in the mighty name of Jesus.
And I command it to loose you. Hallelujah!
I come against the spirit of rejection.
And I command it to loose you. Hallelujah!
And I command that to loose you.
Where you didn’t feel you belonged. You didn’t belong there.
Where your emotions were sealed.
And I command it to loose you. Hallelujah!
And I come again: sealed emotion that can’t give love and can’t receive love.
And I command it to loose you. Hallelujah!
Because of hurt in the past.
Come on out! Come on out! Come on out!
And I command that old ‘python’ spirit to loose you, in the name of Jesus.
And I command it to loose you. Hallelujah!
Take a breath, and let it go! I call it out:
Come on out! Come on out! Come on out!
Emotions that can’t love, receive love, and give love. Sealed emotion.
And I command it to loose you. Hallelujah!
I command that spirit to loose you.
The composition responds to the vicarious, heartfelt and unconditional absolution and expulsion of hurt received from others – human and demonic – exercised by a female African-American preacher. The background music is derived from a midi keyboard rendering (played on the End-Time Deliverance Ministry website) of the first two lines of the hymn ‘O, the Blood of Jesus’, which has been slowed down considerably. The melodic line is in retrograde contrapunctual motion: that is to say, it is arranged as a counterpoint that involves a backwards version of the extract being superimposed upon the forward movement of the same.
Lyric
I forgive every person who ever hurt me.
I forgive every word that blasphemed me, or my name’s sake.
And I command every curse of blasphemy to be broken …
Come on out! Come on out! Come on out!
… and cast from me, in Jesus’ name.
Come on out! Come on out! Come on out!
Every time someone said you wasn’t any good, or called you a ‘God forsake, you was ugly’,
or said anything about you that hurt your heart and caused you to cry:
I break that curse off of you, in the name of Jesus.
And I command it to loose you.
I command that self worth, as the enemy wants to trod down and cause you to be defeated:
Come on out! Come on out! Come on out!
I break every curse that defeats your self worth, in the mighty name of Jesus.
And I command it to loose you. Hallelujah!
I come against the spirit of rejection.
And I command it to loose you. Hallelujah!
And I command that to loose you.
Where you didn’t feel you belonged. You didn’t belong there.
Where your emotions were sealed.
And I command it to loose you. Hallelujah!
And I come again: sealed emotion that can’t give love and can’t receive love.
And I command it to loose you. Hallelujah!
Because of hurt in the past.
Come on out! Come on out! Come on out!
And I command that old ‘python’ spirit to loose you, in the name of Jesus.
And I command it to loose you. Hallelujah!
Take a breath, and let it go! I call it out:
Come on out! Come on out! Come on out!
Emotions that can’t love, receive love, and give love. Sealed emotion.
And I command it to loose you. Hallelujah!
I command that spirit to loose you.
Free Delivery (Deliverance) End-Time Deliverance Ministry:
Come on Out (Sealed Emotions), 2013–15, 01.46
Come on Out (Sealed Emotions), 2013–15, 01.46
Audio Prayer (Bloodmidi)
The music is extracted from a midi keyboard rendering (taken from the End-Time Deliverance Ministry website) of the first two lines of the hymn ‘O, the Blood of Jesus’, which have been slowed down considerably. The melody is in reverse contrapunctual motion: that is to say, it is arranged as a counterpoint that involves a backwards version of the extract being superimposed upon the forward movement of the same. The same music serves as the background to Come on Out (Sealed Emotion).
The music is extracted from a midi keyboard rendering (taken from the End-Time Deliverance Ministry website) of the first two lines of the hymn ‘O, the Blood of Jesus’, which have been slowed down considerably. The melody is in reverse contrapunctual motion: that is to say, it is arranged as a counterpoint that involves a backwards version of the extract being superimposed upon the forward movement of the same. The same music serves as the background to Come on Out (Sealed Emotion).
Audio Prayer (Bloodmidi), 2016, 1.46
You’d Better Not Listen to Him (If You Know What’s Good for You)
In this composition, the first line of ‘O, the Blood of Jesus’ (a hymn sung in the context of a exorcism that, it is supposed, evil spirits cannot bear to hear) provides the background music for the composition. The melodic line is in retrograde contrapunctual motion: that is to say, it is arranged as a counterpoint that involves a backwards version of the extract being superimposed upon the forward movement of the same. Two noncompliant demons, speaking through two young women, caution other entities against heeding the deliverer’s commands and remonstrate about the music.
Lyric
Deliverer: The demons hate to listen to this thing.
Demoniac 1: You’d better not listen to him, if you know what’s good for you. Better not listen to him, if you know what’s good for you. I don’t have to listen to you. I don’t have to listen to you! I’m not listening to you and that stupid song.
Demoniac 2: Shut that song off! I hate that song! Turn it off; I hate it! Ahhhhh …. ! Turn it off! Turn it off! Noooooo …. ! No! I don’t believe it! Turn it off! Off!
In this composition, the first line of ‘O, the Blood of Jesus’ (a hymn sung in the context of a exorcism that, it is supposed, evil spirits cannot bear to hear) provides the background music for the composition. The melodic line is in retrograde contrapunctual motion: that is to say, it is arranged as a counterpoint that involves a backwards version of the extract being superimposed upon the forward movement of the same. Two noncompliant demons, speaking through two young women, caution other entities against heeding the deliverer’s commands and remonstrate about the music.
Lyric
Deliverer: The demons hate to listen to this thing.
Demoniac 1: You’d better not listen to him, if you know what’s good for you. Better not listen to him, if you know what’s good for you. I don’t have to listen to you. I don’t have to listen to you! I’m not listening to you and that stupid song.
Demoniac 2: Shut that song off! I hate that song! Turn it off; I hate it! Ahhhhh …. ! Turn it off! Turn it off! Noooooo …. ! No! I don’t believe it! Turn it off! Off!
You’d Better Not Listen to Him (If You Know What’s Good for You),
2016, 1.40
2016, 1.40
Weaknesses, Sicknesses, Diseases (Of All Kinds)
The composition, once again, begins with the first line of ‘O, the Blood of Jesus’. Thereafter, each syllable of the second line is sung and looped to create a sustained chord comprising all of them sung simultaneously. The spine of the composition is a litany of various physical ailments and distempers related to diseases of the heart and circulatory system, spoken by a deliverer on a Christian radio broadcast. He is attempting to exorcise his audience of their malign influence. Interspersed with this recitation, another deliverer provides a ‘chorus’ pronouncing broad categories of disorder.
Lyric
Deliverer 1: Heart attack, heart failure, heart care, cardiac shock, cardiac arrest. Come out, in the name of Jesus!
Deliverer 2: Diseases, infirmities, weaknesses, sicknesses.
D1: Thrombosis, cardiac thrombosis, coronary thrombosis. Come out, in the name of Jesus!
D2: Weaknesses, sicknesses, diseases of all kinds.
D1: Atherosclerosis, arteriosclerosis, hardening of the artery, armoured heart. Come out, in Jesus’ name!
D2: Weakness, sickness, and so forth; weakness, sickness, and so forth.
D1: Fat or fatty heart, […], Come out, in the name of Jesus!
D2: Weaknesses, sicknesses, diseases of all kinds.
D1: Fibroid heart, blast-shaped heart, frosted heart. Come out, in Jesus’ name!
D2: I want all these debilitating diseases.
D1: […], tiger, tiger lily heart. Come out, in the name of Jesus!
D2: Diseases, infirmities, weaknesses, sicknesses.
D1: […], core vallecula, […]. Come out, in the name of Jesus!
D2: Weakness, sickness, and so forth.
D1: […], […]. Come out, in the name of Jesus!
D2: Diseases, infirmities, weaknesses, sicknesses.
D1: Hypertension, high blood pressure, systolic hypertension, diastolic hypertension. Come out in the name of Jesus!
D2: I want all these debilitating diseases.
D1: Hypertension, high blood pressure, systolic hypertension, diastolic hypertension. Come out, in the name of Jesus!
D2: I want all these debilitating diseases.
D1: Stroke, paralytic stroke, arterial aneurysm. Come out, now, in the name of Jesus!
The composition, once again, begins with the first line of ‘O, the Blood of Jesus’. Thereafter, each syllable of the second line is sung and looped to create a sustained chord comprising all of them sung simultaneously. The spine of the composition is a litany of various physical ailments and distempers related to diseases of the heart and circulatory system, spoken by a deliverer on a Christian radio broadcast. He is attempting to exorcise his audience of their malign influence. Interspersed with this recitation, another deliverer provides a ‘chorus’ pronouncing broad categories of disorder.
Lyric
Deliverer 1: Heart attack, heart failure, heart care, cardiac shock, cardiac arrest. Come out, in the name of Jesus!
Deliverer 2: Diseases, infirmities, weaknesses, sicknesses.
D1: Thrombosis, cardiac thrombosis, coronary thrombosis. Come out, in the name of Jesus!
D2: Weaknesses, sicknesses, diseases of all kinds.
D1: Atherosclerosis, arteriosclerosis, hardening of the artery, armoured heart. Come out, in Jesus’ name!
D2: Weakness, sickness, and so forth; weakness, sickness, and so forth.
D1: Fat or fatty heart, […], Come out, in the name of Jesus!
D2: Weaknesses, sicknesses, diseases of all kinds.
D1: Fibroid heart, blast-shaped heart, frosted heart. Come out, in Jesus’ name!
D2: I want all these debilitating diseases.
D1: […], tiger, tiger lily heart. Come out, in the name of Jesus!
D2: Diseases, infirmities, weaknesses, sicknesses.
D1: […], core vallecula, […]. Come out, in the name of Jesus!
D2: Weakness, sickness, and so forth.
D1: […], […]. Come out, in the name of Jesus!
D2: Diseases, infirmities, weaknesses, sicknesses.
D1: Hypertension, high blood pressure, systolic hypertension, diastolic hypertension. Come out in the name of Jesus!
D2: I want all these debilitating diseases.
D1: Hypertension, high blood pressure, systolic hypertension, diastolic hypertension. Come out, in the name of Jesus!
D2: I want all these debilitating diseases.
D1: Stroke, paralytic stroke, arterial aneurysm. Come out, now, in the name of Jesus!
Weaknesses, Sicknesses, Diseases (Of All Kinds), 2016, 02.37
Le Petite Exorcisme (Release)
The sample is derived from the close of a long and evidently exhausting service of Christian deliverance involving children and adults. In the vaguely post-coital tristesse following a demonic exorcism, two young girls offer a prayer of thanksgiving, one in English and the other in what may be tongues. Their quiet adoration is set against the ubiquitous presence of background ‘worship music’ which accompanied the exorcisms, here abstracted to a plaintive and repetitive motif.
Lyric
Deliverer 1: Dear Lord!
Deliverer 2: [glossolalic utterance]
The sample is derived from the close of a long and evidently exhausting service of Christian deliverance involving children and adults. In the vaguely post-coital tristesse following a demonic exorcism, two young girls offer a prayer of thanksgiving, one in English and the other in what may be tongues. Their quiet adoration is set against the ubiquitous presence of background ‘worship music’ which accompanied the exorcisms, here abstracted to a plaintive and repetitive motif.
Lyric
Deliverer 1: Dear Lord!
Deliverer 2: [glossolalic utterance]
Le Petit Exorcisme (Release)
2016, 01.01
2016, 01.01
Personnel: Anonymous deliverance ministers, preacher, and radio broadcasters, ‘demons’, and John Harvey.
Instrumentation: Adobe Audition CS6 and Apple MacBook Pro OS X 10.8.
Source: Samples derived from recordings on the open-access online archive of the End-Time Deliverance Ministry (accessed February 2012); birdsong captured at Gregynog Hall, Newtown, Powys, May 26, 2012.
Instrumentation: Adobe Audition CS6 and Apple MacBook Pro OS X 10.8.
Source: Samples derived from recordings on the open-access online archive of the End-Time Deliverance Ministry (accessed February 2012); birdsong captured at Gregynog Hall, Newtown, Powys, May 26, 2012.