DELERIUM originated in Canada as a side enterprise of FRONT LINE ASSEMBLY, with Bill Leeb as the only constant member.
Leeb and Michael Balch started off as darker ambient sound enthusiasts, but the evolution of line-up changes gradually migrated DELERIUM’s sound onto electronic dance.
Since, the venture has had an established career spanning over twenty nine years.
The strategic idea to use various vocalists on their projects, such as Jacqui Hunt of SINGLE GUN THEORY, Niels van Gogh, Sarah McLachlan, Kirsty Thirsk, Lisa Gerrard, Emily Haines of METRIC, Matthew Sweet or MEDIÆVAL BÆBES, has proven financially beneficial to the outings by DELERIUM. In fact, surpassing even FRONT LINE ASSEMBLY, who have always been known for having a cult following.
‘Mythologie’
Mimi Page guests on the opening ‘Blue Fires’; Page is an established LA based composer, vocalist and songwriter, mostly celebrated by her ethereal, cinematic vocal techniques and celestial soprano voice.
‘Blue Fires’ is very much a Page track; with atmospheric philosophy and dreamy sequences, it is a perfect opening to the opus.
‘Angels’ is the second out of four songs with Mimi Page in charge. Another JULEE CRUISE styled vocal, hauntingly beautiful, hovering over the extravaganza of synth, guitar and piano. ‘Made To Move’ and ‘Dark Visions’; the latter closing the production, continue with the LA songstress’ signature soprano, painting the sublime soundscapes characterised by layered synths and grandiose textures.
Phidel takes the reins on the second track, ‘Zero’. The Londoner, whose background was musicless, having grown up in a house where music was strictly forbidden, had to fight for her passion, which resulted in the production of some fabulous pieces, which have been extensively used in television ads and various campaigns.
‘Zero’ resembles a FIFI RONG creation, with aptly programmed synths and generous amount of emancipated vocals. Phidel also features on ‘Rhitual’; an ambient piece with exquisite elements sounding like a renaissance of GOLDFRAPP’s ‘Voicething’.
‘Keep On Dreaming’ sees the acclaimed Swiss band LUNIK’s songstress Jaël, whose spellbindingly clear vocals adorned productions by SCHILLER, MICH GERBER and DELERIUM once before. The Svensen and Gieler remix of ‘After All’ went to number one in the UK dance charts in 2003.
The New York born and LA based JES, co-wrote and lends her vocals to two pieces on ‘Mythologie’; ‘Stay’ and ‘Once In A Lifetime’. A well-known and celebrated producer and singer, a Grammy nominee and a host of her own radio show, the artist gracefully lifts the mood of ‘Stay’, which musically bears elements of Madonna’s ‘Frozen’. ‘Once In A Lifetime’ showcases the vocal abilities of JES over a perfect synth pop track.
‘Seven Gates Of Thebes’ is an instrumental gem, introducing ‘Ghost Requiem’ with Geri Soriano-Lightwood. The singer and songwriter of trip hop Supreme Beings Of Leisure characterises herself with the sultry vocal and seductive lyrics. The old record feel of this track resembles the productions by John Fryer on SILVER GHOST SHIMMER.
The last LA artist to collaborate on ‘ Mythologie ‘ is a vocalist and bass player Leah Randi. Randi is best known for playing bass in PINK’s band but she has previously collaborated with Leeb on FRONT LINE ASSEMBLY’s album ‘Civilisation’.
The two year period of completion for ‘Mythology’ pays off now. The album is wholesome, gratifying and wonderfully ethereal. Leeb’s use of various artists from three different countries, each with their own vision and incomparable vocal techniques, makes this collaboration a notable success. It truly is a production for the lovers of atmospheric, ambient and celestial music. And a very different style from FRONT LINE ASSEMBLY.
‘Mythologie’
https://www.facebook.com/Delerium/
Text by Monika Izabela Trigwell
Photos by Eric ‘Rodent’ Chesiak
24th September 2016
saw analogue synthesizers take an increasing role with a blistering solo amongst the organic instrumentation. But on her 2014 seasonal single 
, Peel went the full hog with a dreamy cacophony of electronics and percussive mantras. 
is Peel’s long awaited second album and it is an adventurous electronically textured experience, taking its lead from artists like 
is released by Memetune in CD, vinyl and digital formats on 23rd September 2016
is omnipresent here alongside distant echoes of Gary Numan.
It’s hard not to compare ‘Fixion’ with THE CURE’s ‘Disintegration’; both consist of mainly downtempo songs but whereas the latter had the soul-bearing mid-life crisis lyrics and vocals of Robert Smith as a focal point, the former lacks a comparable cohesion. Despite sounding appropriately epic and using all the right frames of reference, ‘Fixion’ never hits the heights of Smith and Co’s acclaimed career highlight despite being enjoyable as a late-night listening soundscape-based piece of work.
is released by In My Room in CD, vinyl and download formats
.
. The second album syndrome certainly doesn’t apply here. Anais Neon and Martin Swan have elevated their band into an art form, which raises them well above the sea of mediocrity that is the UK’s hit-and-miss electronica scene.
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