Now, a few words from The Hermeneut regarding his music...

For the music, I usually started off with percussion of some sort: a hand or stick drum, a found object, cymbal, my bare hands or some such. Other sound generators included: acoustic guitar, electric guitar, electric bass, cornet, manually powered phonograph, brass novelty spittoon, sea glass, brass incense burner, plastic bucket, wood flute, child’s xylophone, shortwave radio, “egg” percussive shakers, harmonica, child’s accordion, plastic Frisbee, glass marbles, sticks and stones, and my voice, all recorded with a cheap microphone and processed with Audacity free software.

 As far as the name, The Hermeneut: in brief, it is derived from hermeneutics, which began as an interpretive method for biblical scholarship. In the early to mid 20th Century, phenomenological philosophers such as Martin Heidegger, Hans-Georg Gadamer, and Paul Ricoeur utilized hermeneutics in an ontological manner in order to access the origins of the meaning of Being, to come to know what it means to Be at its root (the Ursprung, in Heidegger’s terminology). In turn, I am using the term The Hermeneut to indicate a more personal, though perhaps universally applicable, musical approach which culled from my deepest core the rhythms and sounds which have always been within me and have accompanied me throughout my life; rhythms which also seem to me to be typical, overarching, and primeval.

 I strongly advise using headphones to listen to Scattered Works in order to get the full effect of the sound and the production. Or else blast it at your next kegger….