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Disc 1

Image and Inscription * (42.03) Scene 1: The Wilderness (Ex. 19.1–2) (1.54) Scene 2: The Mountain (Ex. 19.3–6) (2.35) Scene 3: The People (Ex. 19.7–8) (1.40) Scene 4: A Thick Cloud (Ex. 19.9–14) (3.53) Scene 5: The Sanctification (Ex. 19.15) (2.23) Scene 6: The Third Day (Ex. 19.16–25) (5.14) Scene 7: The Decalogue (Ex. 20.1–20) (4.34) Scene 8: The Two Visions; The Two Tables (Ex. 20.21–32.15) (6.53) Scene 9: The Golden Calf (Ex. 32.1–20) (4.12) Scene 10: The Forty Days and Nights (Ex. 32.21–34.29) (6.01) Scene 11: The Face of Moses Shines (Ex. 34.29–34.45) (3.44)

Disc 2

The Second Commandment † (4.26)

Preach to the Beat (1.47)

Double Talk (2.15)

Amen Amen (1.41)

Eschaton Ekstasis (1.55)

The Conversion of St Paul (8.24) Sample 2/Permutation 2 (4.12) Sample 3/Permutation 3 (4.12)

Erased Messiah Recording (8.04)

The Wounded Heart Ministries (3.14)

Free Delivery (Deliverance) End-Time Deliverance Ministry (4.01) Catatonic (You’ve Been Found Out) (1.12) Boyce & Boice (Electronic-Malfunctioning Demons) (1.03) Come on Out (Sealed Emotion) (1.46)

Graven Image ‡ (2.55)

* The metal matrix engravings of the text were made at Aberystwyth Trophies and Merlin’s Services, Aberystwyth (March 13, 2010, and April 20, 2015, respectively). The readings of Exodus 20.4, by Timothy Cutts and Ceridwen Lloyd-Morgan, were recorded at the National Screen and Sound Archive of Wales, The National Library of Wales, Aberystwyth (June 22, 2015). An audio manipulation of those recordings was undertaken during a 24-hour open-studio event held at the Drwm, The National Library of Wales (September 24–25, 2015).

† Recorded live at a lecture entitled ‘An Art of Predestination: Textual–Visual–Aural Approaches to Imaging the Bible’ delivered at the ‘Calvinism and Culture’ conference, Princeton Theological Seminary, Princeton, USA (April 15, 2011).

‡ Recorded live at a lecture entitled ‘The Un- “Graven Image”: An Aniconic Art’ conference, Liverpool Cathedral, UK (December 11, 2010).

* Engrafwyd y testun ar fatrics metel yn Aberystwyth Trophies a Merlin’s Services, Aberystwyth (Mawrth 13, 2010 ac Ebrill 20, 2015). Recordiwyd y darlleniadau o Ecsodus 20.4, gan Timothy Cutts a Ceridwen Lloyd-Morgan, yn Archif Genedlaethol Sgrin a Sain Cymru, Llyfrgell Genedlaethol Cymru, Aberystwyth (Mehefin 22, 2015). Aethpwyd ati i drin y sain yn y recordiadau hyn mewn sesiwn stiwdio agored 24 awr a gynhaliwyd yn y Drwm, Llyfrgell Genedlaethol Cymru (Medi 24–25, 2015).

† Recordiwyd yn fyw mewn darlith o’r enw ‘An Art of Predestination: Textual–Visual–Aural Approaches to Imaging the Bible’ a draddodwyd yng nghynhadledd ‘Calvinism and Culture’, Princeton Theological Seminary, Princeton, Unol Daleithiau America (Ebrill 15, 2011).

‡ Recordiwyd yn fyw mewn darlith o’r enw ‘The Un- “Graven Image”: An Aniconic Art’, Eglwys Gadeiriol Lerpwl (Rhagfyr 11, 2010).

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Mae’r gyfres Beibl Clywedol (The Aural Bible) yn ymdrin â’r ysgrythurau Iddewig-Gristnogol fel y gair ysgrifenedig, llafar a chlywadwy. Mae’n archwilio cymalau diwylliannol ac addasiadau o’r Beibl o fewn y traddodiad Protestannaidd. Mae’r gweithiau ar yr albwm yn dechrau gydag ymyriad beirniadol, ymatebol a deongliadol ar agweddau o’i ddiwylliant sain. Roedd prosiect cyntaf y gyfres, R R B V E Ǝ T N Ƨ O A (2015) yn gasgliad o atgyfansoddiadau’n hanu o recordiad silindr cwyr o bregethu’r diwygiwr Anghydffurfiol Cymraeg, Evan Roberts (1878–1951). Yn yr un modd, mae’r arteffactau ar yr ail CD hon yn rhoi sylw i bwyslais y traddodiad ar y clywedol a fynegir yn bennaf trwy lafar a chân gan ddefnyddio sain.

Sail y gweithiau yw ‘synau wedi eu darganfod’ [found sounds] (e.e. recordiadau o bregethu, gweddïo, canu a darllen yr ysgrythur) yn ogystal â seiniau ffabrigedig, gan gynnwys fersiynau sonig o ddelweddau Beiblaidd. Mae’r deunydd yn tarddu o recordiadau maes analog a digidol, trosglwyddiadau radio, darllediadau

rhyngrwyd a recordiau gramoffon. Mae fformat y saingipio – microcassette, cassette cryno, disg 78 rpm, neu encodio MP3 – ynghyd â phriodweddau acwstig y cyfryngau a’r technolegau yn cyfrannu at nodweddion cysyniadol a chlywedol y cyfansoddiadau. Ar Ddisg 1, mae’r ffynonellau crai wedi’u ffurfio o engrafiad o destun Beiblaidd arysgrifenedig a llafar, a ffrwd-ddarn clywedol yn deillio o ddau engrafiad darluniadol sy’n darlunio’r testun. Ar Ddisg 2, mae’r ffabrig cyfansoddiadol yn cynnwys recordiadau cynhenid sy’n bodoli eisoes.

Yn wahanol i ymddangosiadau corfforol a thestunol crefydd, darfodedig yw ei diwylliant sain oni bai y caiff ei recordio. Y seiniau hyn yw mynegiant cinetig a chlywedol o’r hyn y cyfeirir ato fel ‘crefydd sydd wedi’i byw’ – atseiniau clywadwy o unigolion a chymunedau ar waith. Mewn sawl ffordd, mae’r seiniau hyn yn dystiolaeth ac yn argoel o grefydd yn symud ymlaen; yn dogfennu a chadw’n gysegredig; ac maent yn gyfrwng coffâd, eiriolaeth, adeiladaeth, anogaeth a chyfarwyddyd. O fewn fframwaith y cyfleustodau

The Aural Bible series deals with the Judaeo-Christian scriptures as the written, spoken, and heard word. It explores the cultural articulations and adaptations of the Bible within the Protestant tradition. The works on the album embark upon a critical, responsive, and interpretive intervention with aspects of its sound culture. The first project in the series, R R B V E Ǝ T N Ƨ O A (2015), comprised a suite of recompositions derived from a wax cylinder recording of the Welsh Nonconformist revivalist Evan Roberts (1878–1951) preaching. The artefacts on this second CD, similarly, address the tradition’s emphasis on aurality, expressed principally through speech and song, using sound.

‘Found sounds’ (for example, recordings of preaching, praying, singing, and scripture reading), as well as fabricated sounds, including sonifications of biblical images, form the basis of the works. The material is derived from analogue and digital field recordings, radio transmissions, Internet broadcasts, and gramophone

records. The format of the sound capture – microcassette, compact cassette, 78 rpm disc, or MP3 encoding – together with the acoustic properties of the media and technologies, contribute to the conceptual and audio characteristics of the compositions. On Disc 1, the source material is made up of an engraving of an inscribed and a spoken biblical text, and an audio bitstream derived from two pictorial engravings illustrating the text. On Disc 2, the compositional fabric consists of pre-existing and originated recordings.

Unlike a religion’s material and textual manifestations, its sound culture is ephemeral unless recorded. These sounds are the kinetic and auditory expression of what is referred to as ‘lived religion’ – the audible resonances of individuals and communities in action. The sounds serve, variously, as the evidence and trace of religion in progress; to document and enshrine; and as a means of commemoration, advocacy, edification and encouragement, and instruction. Within the framework of these utilities, the

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hyn, mae gan gyfansoddiadau’r albwm swyddogaeth gymdeithasegol hefyd; maent yn rhoi persbectif ar ymddygiad crefyddol mewn perthynas â’r mynegiant acwstig o werthoedd, credoau, gweithredoedd ac elfennau hunaniaeth, tra’u bod hefyd yn cwestiynu cydadwaith nodweddion ieithyddol, ffonetig, a strwythurol dialog crefyddol.

Mae’r gweithiau wedi’u cynllunio’n ddeongliadol ac ymatebol. At ei gilydd, maent yn bortread o ymholiadau hermeniwtig sy’n ceisio egluro cynnwys semantig y ffynonellau yn gydymdeimladol, newid pwyslais y cynnwys amlwg, a dadlennu’r pethau arwyddocaol a geir yma dan y croen. O wneud hyn, mae’r cyfansoddiadau yn dwysau, nodi ac yn egluro’r syniadau a geir yno fel bod modd i’r deunydd gwreiddiol gyfleu mwy na’r ystyr a fwriadwyd yn y dechrau. Nid pwrpas hyn yw gwerthuso, damcaniaethu neu ddod i unrhyw gasgliad (fodd bynnag, mae modd eu dadansoddi). Yn hytrach, y nod yn rhannol yw datblygu corff o ymgysylltiadau creadigol â’r Beibl a’i ddiwylliannau sonig a

allai fwrw goleuni ar y disgyblaethau hynny, megis astudiaethau Beiblaidd a chrefyddol, sy’n rhoi pwyslais penodol ar ddadansoddi systematig a chasgliadol.

Wrth ymyrryd â’r deunydd crai trwy wahanol ffyrdd – dyrannu, gwrthdroi, trawsnodi, trawsgyweirio, gosod haenau, cyfosod, ymestyn, cywasgu, seinchwyddo, dileu, datgymalu ac ail-gyfannu ei gynnwys – datgelir ‘cerddoroldeb’ cynhenid, telynegiaeth, dwysdeimladau, ac weithiau gweledolrwydd. Mae Image and Inscription, er enghraifft, yn dwyn i gof golygfeydd Beiblaidd tywyll, anghynnes a dramatig sy’n atgof o’r hyn a bortreadir mewn engrafiadau gan Gustav Doré (1832–83) a John Martin (1789–1854). Mewn un ystyr, mae’r cyfansoddiad yn gyfres o dirweddau sonig (ac nid seinweddau), sy’n galw ar y tir, y ffenomenau cataclysmig, defodau a’r ffigyrau a ddarlunnir yn naratif yr Hen Destament. Yn wir, mae’r prosesau cyfansoddiadol a ddefnyddir i wireddu’r holl weithiau sain ar yr albwm hwn yn tarddu, trwy gydweddiad, o arfer celfyddyd gain. Mae cydosodiadau, collage, décollage, gwydro,

album’s compositions serve a sociological function too: they provide a perspective on religious behavior in relation to the acoustic expression of values, beliefs, activities, and identities, while also interrogating the interplay of the linguistic, phonetic, and structural character of religious discourse.

The works are designedly interpretive and responsive. Broadly speaking, they represent a hermeneutic enquiry that seeks to sympathically elucidate the sources’ semantic content, refocus the evident content, and reveal its subcutaneous significances. In so doing, the compositions intensify, identify, and clarify ideas contained therein, so that the original material may speak of more than its intended meaning. This is not with a view to evaluating, theorizing, or arriving at any conclusions (however they may be construed). Rather, the aim, in part, has been to develop a body of creative engagements with the Bible and its sonic cultures that might inform those disciplines, such as biblical studies and

religious studies, which are dedicated to a systematic and deductive analysis.

By breaking into the source material – variously dissecting, inverting, transposing, modulating, layering, juxtaposing, stretching, compressing, amplifying, erasing, disintegrating, and reintegrating its content – an intrinsic musicality, lyricism, poignancy, and, sometimes, visuality is disclosed. Image and Inscription, for instance, evokes dark, forbidding, and dramatic biblical scenes reminiscent of those represented in engravings by Gustav Doré (1832–83) and John Martin (1789–1854). The composition is, in one sense, a suite of sonic landscapes (as distinct from soundscapes), summoning the terrain, cataclysmic phenomena, ritual, and figures featured in the Old Testament narrative. Indeed, the compositional processes used to realize all of the sound works on this album are derived, by analogy, from fine art practice. Assemblage, collage, décollage, glazing, superimposition, layering, overpainting, reverse painting, washing, texturing, craquelure, chiaroscuro,

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arosodiadau, gosod haenau, trosbeintio, peintio o chwith, golchi, gweadeddu, craquelure, chiaroscuro, lliwio, cyweiredd, graddiad, lluniadu tynnol, persbectif ochrol, dyfnder maes, cnydio, cymesuro, staenio, crafu a gosod ôl traul, oll i gyd yn canfod eu cymwysiadau sonig cyfatebol.

Mae prosiect The Bible in Translation yn ymestyn y tu hwnt i derfynau’r albwm hwn mewn pedair ffordd. Y cyntaf yw cyfres sain mewn 57 rhan sy’n dwyn y teitl The Floating Bible: Miracle of the Risen Word. Gan ei fod yn saith awr o hyd, nid oedd yn bosibl cynnwys y cyfansoddiad o fewn ffrâm CD dwbl. (Mae ar gael naill ar ffurf cyfryngau ffrwd neu gellir ei brynu a’i lawrlwytho ar wefan bwrpasol ar https://floatingbible.bandcamp.com.) Yr ail yw arddangosfa o 23 o baentiadau, lluniadau a gweithiau digidol – gyda’i gilydd yn dwyn y teitl The Bible in Translation. Cafodd y trydydd prosiect yng nghyfres Y Beibl Darluniadol (The Pictorial Bible) ei gynnal am y tro cyntaf yn Orielau Ysgol Gelf, Prifysgol Aberystwyth (Chwefror 16–Mawrth 20, 2015). O ran syniadaeth, proses a chynllun

mae’r arddangosfa yn analog gweledol o’r gweithiau sain. Gellir gweld y llawlyfr sy’n cyd-fynd â’r arddangosfa ar: www.johnharvey.org.uk/index.php/the-pictorial-bible-iii-the-aural-bible-ii-the-bible-in-translation. Yn drydydd, mae albwm o ddeunydd bonws ar gael ar http://sound.johnharvey.org.uk/album/the-bible-in-translation-bonus-material. Ac yn olaf, mae gwefan ar gael sy’n disgrifio’r sail resymegol y tu ôl i bob un o’r gweithiau sain: http://auralbible.weebly.com

Mae cyfresi’r Beibl Clywedol a’r Beibl Darluniadol (The Pictorial Bible a The Aural Bible) wedi’u seilio ar yr egwyddor a ymgorfforir yn yr ail o’r Deg Gorchymyn. ‘Na wna i ti ddelw gerfiedig ar ffurf dim sydd yn y nefoedd uchod, na’r ddaear isod, nac yn y dŵr dan y ddaear’ (Exodus 20.4). Mae’r testun yn un sy’n cyfyngu ac yn galluogi ar yr un pryd. Yn ei gyd-destun gwreiddiol roedd y gorchymyn yn gwahardd gwneud delwau cynrychioladol gyda’r bwriad o’u haddoli. Yng nghyd-destun y gyfres, mae’n rhoi bodolaeth i lawer o bosibiliadau cysyniadol heriol,

colouring, tonality, gradating, subtractive drawing, lateral perspective, depth of field, cropping, proportioning, staining, scratching, and distressing all find their corresponding sonic applications.

The Bible in Translation project extends beyond the bounds of this album in four ways. The first is a 57-part sound suite entitled The Floating Bible: Miracle of the Risen Word. Seven hours long, the composition could not be contained within the frame of the double CD. (It is available in the form of either streamed media or as a purchasable download at a bespoke website at https://floatingbible.bandcamp.com.) The second is an exhibition of 23 paintings, drawings, and digital works – collectively entitled The Bible in Translation and the third project in The Pictorial Bible series – was first held at the School of Art Galleries, Aberystwyth University (February 16–March 20, 2015). In terms of ideation, process, and method, the exhibition is the visual analogue of the sound works. The booklet that accompanied the exhibition can be

accessed via www.johnharvey.org.uk/index.php/the-pictorial-bible-iii-the-aural-bible-ii-the-bible-in-translation. Thirdly, there is an album of bonus material available at http://sound.johnharvey.org.uk/album/the-bible-in-translation-bonus-material. And, finally, there is a website describing the rationale for each sound work available at http://auralbible.weebly.com

The Pictorial Bible and The Aural Bible series are founded on a principle that is embodied in the second of the Ten Commandments: ‘Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth’ (Exodus 20.4). The text is both limiting and enabling. In its original setting, the commandment prohibited making representational images with a view to worshipping them. In the context of the series, it opens up several challenging conceptual possibilities, such as imaging pictorially but without representation, representing without recourse to

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megis delweddu’n ddarluniadol ond heb bortreadu, portreadu heb droi at ddarlunio, neu ‘ddelweddu’ sy’n gwbl anweledol – trwy ddefnyddio sain yn unig. Yn y gyfres The Pictorial Bible, cafodd testunau Beiblaidd ysgrifenedig eu cyflwyno’n haniaethol gan ddefnyddio systemau a phrosesau cynhenid yn eu hystyr semantig a’u cystrawen. Ar yr albwm hwn, mae’r gair llafar yn cael ei drosi i ddelweddau sonig sydd, yn yr un modd, yn ymateb i briodoleddau’r gwreiddiol.

Exodus 20.4 yw testun craidd yr albwm, fel naill ai testun dangosiad (sef Image and Inscription, sy’n llenwi Disg 1, a The Second Commandment a Graven Image, sy’n agor a chau Disg 2) neu fel egwyddor cyfyngu a galluogi (ceir enghreifftiau ar y traciau sy’n weddill).

Disg 1Ymateb yw Image and Inscription i’r naratif a gyflwynir yn Exodus 19.1–34.45. Mae’n sôn am ddyfodiad yr Israeliaid ar Fynydd Sinai yng nghanol storm o fellt a tharanau, tywyllwch a daeargrynfeydd; am sefydlu cyfamod Duw gyda’i bobl; ei gyflwyniad o’r Dengair Deddf, deddfau a gorchmynion, a’r

gwaharddiad parhaus rhag llunio delwau;; yr Israeliaid yn annog ac yn eilunaddoli’r llo aur; eu hedifeirwch a chosb Duw am y pechod; gweledigaethau Moses a’r hynafgwyr o Dduw a’u cyfarfyddiad ag ef; gwrthdaro hirfaith y patriarch ag ef ar y mynydd; ac yn olaf, Moses yn dychwelyd yn fuddugoliaethus at ei bobl.

Disg 2Cafodd y gweithiau ar yr ail ddisg eu cyfansoddi a’u recordio rhwng 2010 a 2015. Fel Image and Inscription, gosodiadau ydynt o destunau Beiblaidd ysgrifenedig a llafar. Fodd bynnag, mae’r deunydd ar gyfer y cyfansoddiadau yn llawer ehangach gan gynnwys yn ogystal recordiadau clywedol o ddarllen ysgrythurau, addysgu, pregethu, gweinidogaethu, cyfweliadau radio, cerddoriaeth a holl drugareddau addoli. Ymgais fu hon i weithio ochr yn ochr â’r deunydd a’i ailgyfeirio er mwyn creu gweithiau sain sy’n dal yn ffyddlon i’r gwreiddiol tra’n estyn ffiniau ei fwriad gwreiddiol.

John Harvey, Mehefin 2016

figuration, or ‘imaging’ entirely non-visually – using sound alone. In The Pictorial Bible series, written biblical texts were rendered abstractly, using systems and processes inherent in their semantic meaning and syntax. On this album, the spoken word is converted into sonic images that, likewise, respond to attributes of the source.

Exodus 20.4 provides the core text for the album, as either the subject of exposition (namely Image and Inscription, which occupies the whole of Disc 1, and The Second Commandment and Graven Image, which open and close Disc 2) or a delimiting and an enabling principle (exemplified by the remaining tracks).

Disc 1Image and Inscription is a response to the narrative presented in Exodus 19.1–34.45. It relates the Israelites’ arrival at Mount Sinai amid thunder, lightning, darkness, and earthquakes; the establishment of God’s covenant with his people; his delivery of the Decalogue, laws and ordinances,

and repeated prohibition against image making; the Israelites’ fashioning and idolatrous worship of the golden calf; their repentance and God’s punishment of the sin; Moses’ and the elders’ visions of, and encounter with, God; the patriarch’s prolonger confrontation with him on the mount; and, finally, Moses’ radiant return to the people.

Disc 2The works on the second disc were composed and recorded between 2010 and 2015. Like Image and Inscription, they are settings of written and spoken biblical texts. However, the material for the compositions is far broader, encompassing also aural recordings of scripture reading, teaching, preaching, ministry, radio interviews, music, and the paraphernalia of worship. The endeavour has been to collaborate with and redirect the material to create sound works that remain faithful to the source while extending the boundaries of its original intent.

John Harvey, June 2016

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Ffynonellau a Chydnabyddiaethau : Amen Amen (sampl yn deillio o recordiad o gwrdd o dan arweiniad yr efengylwr o’r Ariannin, Luis Palau, a gynhaliwyd yng Nghanolfan y Celfyddydau, Aberystwyth, Mai 16, 1988); The Conversion of St Paul (sampl yn deillio o recordiad o gloch yn canu y tu allan i Gadeirlan Sant Pawl, Llundain, Chwefror 20, 2005); Double Talk (recordiad o ddarllediad radio Cristnogol anhysbys yn Unol Daleithiau America, Gorffennaf 1, 2013); Erased Messiah Recording (recordiad 78 rpm o ‘The People that Walked in Darkness’, o Messiah gan George Frederic Handel, Serial A185, Zonophone Records, Z-042093, tua 1915–26); Eschaton Ekstasis (recordiad o ddarllediad radio Cristnogol anhysbys yn Unol Daleithiau America, Gorffennaf 1, 2013); Free Delivery (Deliverance) End-Time Deliverance Ministry (samplau’n deillio o archif ar-lein agored ‘End-Time Deliverance Ministry’, a gyrchwyd ym mis Chwefror 2012); adar yn canu a recordiwyd yn Neuadd Gregynog, Y Drenewydd, Powys, Mai 26, 2012); Image and Inscription (samplau’n deillio o ddau engrafiad yn dangos Moses

ar Fynydd Sinai a argraffwyd ym Mibl yr Addoliad Teuluaidd (Llundain: Printing and Publishing Company, [n.d]) a’r Imperial Family Bible (Glasgow: Blackie & Son, 1844), diolch i Lyfrgell Genedlaethol Cymru, Aberystwyth); Preach to the Beat (sampl yn deillio o recordiad o bregethu ar y stryd yn ystod y dathliadau i gloi gŵyl agored ‘We Face Forward: Music from West Africa Today’ a gynhaliwyd yn Piccadilly Gardens, Manceinion, Medi 15, 2012); The Second Commandment (sampl yn deillio o recordiadau mewn archif agored ar-lein o bregeth gan A. W. Pink a gweinidogion eraill, a gyrchwyd ym mis Mehefin 2012); The Wounded Heart Ministries (hafan gwympedig gwefan The Wounded Heart Ministries, a gyrchwyd ym mis Chwefror 2015).

Offerynnau a Chynhyrchu : Adobe Audition 3.0 a CS6, cymysgydd Allen & Heath Xone:23C, rhyngwyneb gitâr Apogee Gio, Apple MacBook Pro, Apple iMac OS X 10.11, Apple MainStage2, Avid Pro Tools 10, clychau Cadeirlan Sant Pawl, Llundain, pedal samplo Boomerang III, uned aml-

Sources and Acknowledgements : Amen Amen (sample derived from a recording of a mission meeting led by the Argentinean evangelist Luis Palau, held at Aberystwyth Arts Centre, Aberystwyth, May 16, 1988); The Conversion of St Paul (sample derived from a recording of bell ringing heard outside St Paul’s Cathedral, London February 20, 2005); Double Talk (recording of an unknown Christian radio broadcast in the USA, July 1, 2013); Erased Messiah Recording (78 rpm recording of George Frederic Handel’s ‘The People that Walked in Darkness’, from Messiah, Serial A185, Zonophone Records, Z-042093, c.1915–26); Eschaton Ekstasis (recording of a Christian radio broadcast in the USA, July 1, 2013); Free Delivery (Deliverance) End-Time Deliverance Ministry (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); Image and Inscription (samples derived from two engravings depicting Moses on Mount Sinai printed in Bibl yr Addoliad Teuluaidd (London: Printing and Publishing Company, [n.d]) and

Imperial Family Bible (Glasgow: Blackie & Son, 1844), courtesy of The National Library of Wales, Aberystwyth); Preach to the Beat (sample derived from a recording of street preaching at the closing celebrations of the ‘We Face Forward: Music from West Africa Today’, free festival held at Piccadilly Gardens, Manchester, UK, September 15, 2012); The Second Commandment (sample derived from recordings on an open-access online archive of sermon by A. W. Pink and other ministers, accessed June 2012); The Wounded Heart Ministries (collapsed homepage of The Wounded Heart Ministries website, accessed February 2015).

Instrumentation and Production : Adobe Audition 3.0 and CS6, Allen & Heath Xone:23C mixer, Apogee Gio guitar interface, Apple MacBook Pro, Apple iMac OS X 10.11, Apple MainStage2, Avid Pro Tools 10, bells of St Paul’s Cathedral, London, Boomerang III phrase sampler pedal, Boss ME-25 Multiple Effects unit, Canon PowerShot G12 camera, Digitech Hardwire DL-8 delay/looper pedal, Electro Harmonix Big Muff Pi pedal, Electro

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effeithiau Boss ME-25, camera Canon PowerShot G12, pedal ailadrodd/lŵpio Digitech Hardwire DL-8, pedal Electro Harmonix Big Muff Pi, pedal Electro Harmonix Freeze Sound Retainer, pedal Eventide PitchFactor, pedal Eventide Time Factor, pedal Eventide Space, cywasgydd/gât FMR RNLA 7239, gitâr Gibson Les Paul Custom, Korg Kaoss Pad KP3 a Kaoss Pad Quad, pedal Lehle Julian Parametric Booster, Prosesydd Moog CP-251, Ffilter Amledd Isel Moog MF-101, Trawsgyweiriwr Moog MF-102, Cydweddwr 12-cam Moog MF-103, Ailadroddwr Analog Moog MF-104M, Moog MF-105 Midi Murf, Moog MF-108M Cluster Flux, pedal cywasgu Pigtronix Philosopher’s Tone, RME Fireface UCX, pedalau codi a lleihau sain Roland FV-50H a FV-50L ac uned samplu Roland SP-404 SX Linear Wave, Radio tonfedd fer Roberts R9962, pedal ailadrodd TC Electronic Flashback a phedal atsain Nova, gitâr Traveller EG-1, pedal chwyddo sain Seymour Duncan SFX-01, microffon Sony ECM-DS70P, Sony Microcassette-corder M-627V, chwaraewr/recordiwr

digidol Sony MZ-RH10 Hi-MD Walkman, peiriant recordio digidol Tascam DR-2d, uned ffilter Sherman Filterbank 2, uned ffilter Sherman/Rodec Restyler, chwaraewr recordiau Stanton S-150, a phedal ‘fuzz’ Zvex Box of Metal.

Holl gyfansoddiadau: ℗ a © 2016 John Harvey

Peiriannydd a chynhyrchydd: John Harvey

Cysyniad y clawr gan John Harvey

Llun clawr gan John Harvey

Wedi’i greu a’i roi ar brif dâp yn Ysgol Gelf Prifysgol Aberystwyth, 2010–16

Paratowyd ar gyfer cryno-ddisg gan Sain, Llandwrog, Caernarfon, Gwynedd

Mae’r prosiect a’r recordiad hwn yn gywaith rhwng Archif Genedlaethol Sgrin a Sain Cymru, Llyfrgell Genedlaethol Cymru, Aberystwyth ac Ysgol Gelf Prifysgol Aberystwyth.

Harmonix Freeze Sound Retainer pedal, Eventide PitchFactor pedal, Eventide Time Factor pedal, Eventide Space pedal, FMR RNLA 7239 compressor and gate unit, Gibson Les Paul Custom guitar, Korg Kaoss Pad KP3 and Kaoss Pad Quad, Lehle Julian Parametric Booster pedal, Moog CP-251 Control Processor, Moog MF-101 Low Pass Filter, Moog MF-102 Ring Modulator, Moog MF-103 12-Stage Phaser, Moog MF-104M Analog Delay, Moog MF-105 Midi Murf, Moog MF-108M Cluster Flux, Pigtronix Philosopher’s Tone compression pedal, RME Fireface UCX, Roland FV-50H and FV-50L volume pedals and Roland SP-404 SX Linear Wave Sampler unit, Roberts R9962 Compact Shortwave Radio, TC Electronic Flashback Delay pedal and Nova Reverb pedal, Traveller EG-1 guitar, Seymour Duncan SFX-01 pickup booster pedal, Sony ECM-DS70P microphone, Sony Microcassette-corder M-627V, Sony MZ-RH10 Hi-MD Walkman Digital Music Player/Recorder, Tascam DR-2d digital recorder, Sherman Filterbank 2 filter unit, Sherman/Rodec Restyler filter unit, Stanton S-150 record turntable, and Zvex Box of Metal fuzz pedal.

All compositions: ℗ and © 2016 John Harvey

Engineered and produced by John Harvey

Cover concept by John Harvey

Cover images: John Harvey, Pew Bibles, Old Whalers Church, Martha’s Vineyard, Massachusetts, 2009

Conceived and mastered at School of Art, Aberystwyth University, 2010–16

Prepared for CD by Sain, Llandwrog, Caernarfon, Gwynedd

Released by the National Screen and Sound Archive of Wales

The project and recording are a collaboration between The National Screen and Sound Archive of Wales, The National Library of Wales, Aberystwyth, and the School of Art, Aberystwyth University.