Free Delivery (Deliverance) End​-​Time Deliverance Ministry: Audio Prayer (Bloodmidi)

from by John Harvey



The composition reflects upon 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.

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)', on 'The Bible in Translation' CD.


from The Bible in Translation: Bonus Material, released July 4, 2016
Personnel: anonymous midi keyboard player and John Harvey.

Instrumentation: Adobe Audition CS6 and Apple MacBook Pro OS X 10.8.

Source: sample derived from recordings on the open-access online archive of the ‘End-Time Deliverance Ministry’, accessed February 2012.


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John Harvey Ceredigion, UK

Harvey is a historian of art, visual culture, and sound art, and also a sound- and visual-art practitioner. His research field is the visual and sonic culture of religion, principally. He explores non-iconic attitudes to visualization and sonic articulations of religion by engaging visual, textual, and audible sources, theological and cultural ideas, and systemic and audiovisualogical processes. ... more

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