Limited two disc edition of the group's 1997 album (which features guest vocals by Sarah McLachlan), plus bonus CD with ten tracks, 'Silence' (3 versions), 'Euphoria (Firefly)' (Rabbit In The Moon Mix), 'Flowers Become Screens' (Frequency Modulation Mix), 'Incantation' (12 Inch Mix Edit), 'Duende' (Bleak Desolation Mix) and 'Heavens Earth' (3 mix versions). A combined total of 21 tracks, also featuring the original version of the hit single 'Silence' with McLachlan singing the lead!
Delerium is from Vancouver, British Columbia, Canada, formed in 1987, originally as another side project (Intermix being the more techno-sounding project) of the influential industrial music act, Front Line Assembly. Delerium has traditionally been a two-person project, but the only constant member throughout its history has been Bill Leeb. After Michael Balch left both Front Line Assembly and Delerium, Bill Leeb worked with Rhys Fulber, and the two released several albums under the Delerium moniker; these years saw a gradual stylistic change from darker ambient to a more danceable sound. A collaboration with Sarah McLachlan in their Karma album, "Silence", won them a certain amount of popular recognition and spawned a great deal of remixes.
Vancouver techno-pop enterprise Delerium may be most widely known for getting Sarah McLachlan played in dance clubs; the famed songstress lent her vocals to their 1997 hit "Silence." DJ Tiesto's familiar dance-floor overhaul of the tune sets the pace for the double-disc compilation Odyssey, on which a procession of remix artists chop tracks from Delerium albums Semantic Spaces (1994), Karma (1997), and Poem (2000) into lengthy workouts…
Although not the best Delerium CD I have ever heard, Stone Tower is quite effective in creating a dark and sinister ambient mood. In true Delerium style, half-heard voices echo across the speakers and there is the ocassional startling abrupt change in music so you're not lulled into only half-listening. I've found my reaction to Stone Tower different to that of other Delerium albums I have; while albums like Semantic Spaces and Karma are soothing and at times relaxing, Stone Tower is not, somewhat like the beginning of Spheres I, because there's an underlying sense of anxiety. Overall, it's not a great album to relax to, but it is fun, especially if you happen to be in a somewhat darker mood. Recommended for those who are already Delerium fans.
Semantic Spaces is best describes as the 'rebirth of Delerium' for it is a new awakening from their eerie darker days. And while the album starts out rather cold and emotionless it soon escalates to some deep electronic bass lines with (for the first time ever) soaring vocals by female singer Kristy Thirsk on "Flowers Become Screens". Then comes "Metaphor" with its ancient tribal chantings amidst synthy-electronic beats and mysterious female voices that sound a lot like something you'd find on their Future Primitives side-project by Intermix. "Consensual Worlds" probably comes the closest to their older sound with a droning undervoice that drags through some downright creepy sound effects while "Incantation" is probably their most upbeat song with funky trance beats accompanied, once again, by Kristy Thirsk, who sings a lot more often on their next album, Karma.
Bill Leeb and Rhys Fulber have been perfecting their Enigma-esque form of pseudospirtual, vaguely gothic dance pop since they began collaborating in the mid-1980s. Whether working as Delerium, or under their better-known name Front Line Assembly (among others), their music, which is airy and laden with reverb, usually features guest contributions from a rolling ensemble of female vocalists. Occasionally, the formula yields a worthy hit, like "Silence," the twosome's transcendent collaboration with Sarah McLachlan on Karma (1997). On this effort, a guest turn from Matthew Sweet livens up "Daylight," and The Mediaeval Baebes (fronted by ex-Miranda Sex Garden vocalist Katharine Blake) lend their silky pipes to the lovely "Aria".
Delerium’s Rhys Fulber and Bill Leeb lighten up their sound on Chimera, as the darker fixations of early records like Morpheus retreat yet further into the background. After Sarah McLachlan’s lovely turn on the single "Silence," and the massive success of 1997’s Karma, the duo have dutifully embraced their winning combination of ethereal female vocalists and ambient dance-pop. On Chimera, the formula yields a few worthy singles, such as the limber and catchy "Love" and "Run For It" (featuring Sixpence None The Richer’s Leigh Nash). And while the record too often settles for disposable, bland pop ("Touched" and "Magic," for instance), it also delivers potent hooks and moments of inspiration that will keep the band’s fan base happy.