Somewhere relatively early in the Front Line Assembly career, Bill Leeb and Rhys Fulber began to compartmentalizing various aspects of their music into a wide array of side projects. I once theorized, and not too inaccurately, that either Leeb or Fulber appears on every single record ever recorded since 1984. Look it up for yourself. Anyhow, Delerium began as an outlet for a more ambient, minimalized ethereal sound (before ultimately turning into ethnic-flavored pop with an endless supply of lady guest vocalists). Delerium eschewed many of the industrial elements for a sound that emphasized pensive moods and quieter atmospherics.

Faces Forms and Illusions was the first Delerium product. It actually featured Bill Leeb with Michael Balch rather than Rhys Fulber. The album adheres to the stylistic qualities described above, with lengthy moody passages decorating the overall sound of the album. Much of it dwells in the passive listening category of music, although the percussion and drum programming, albeit far more subdued than Front Line Assembly, often keeps a near militaristic tempo. Faces Forms and Illusions, while relatively enjoyable, does lack from truly standout material. The listening experience never actually suffers at any point, but the music also fails to truly compel one into any particular advanced state of interest.

The original Dossier version of the album differs in both the album artwork and track listing, compared to the 1997 Cleopatra reissue. Both feature the infamous immolating protesting monk photo, but the reissue places the photo within a setting of mythological symbols. The reissue also omits "Hidden Mask" and appends "Dark Star" for bonus material.

Review by John Chedsey

Review date: 11/2007

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Delerium is the long running side project of Front Line Assembly's Bill Leeb and Rhys Fulber (who has done work with the likes of Fear Factory, among many others). The project started out with a semi-ambient musical approach that stuck more to the soundscape territory (although much more musical than some in the style), but by 1994's Semantic Spaces, Delerium had ventured into World/Ethnic Music Lite and found vocal help from a wide array of ladies with beautiful voices. By 1997 and the release of Karma, Delerium had ventured further into "porn music for goths" (as one local record store describes them) with another set of Enigmafied, semi-exotic music set to club beats.

On Karma, Leeb and Fulber enlist the help of Sarah McLachlan and Kristy Thirsk (as well as a couple other female vocalists) to provide vocals and lyrics to their tunes. The resulting CD is a very listenable, fully pleasant, hardly demanding and slightly fluffy release. Although this music sounds exotic and "worldly" to us North American uncultured heathens, it's doubtful too many tribal musicians have drum machines. But that's neither here nor there. Delerium's lighter, commercialized approach certainly can find a lot of appeal in those who thought they were transcendental with Enigma as well as those who feel the need to shake a booty at the club. The electronics throughout this album are airy, slightly cosmic and soothing. Between them and the light, soaring vocals, Karma is the type of album one can listen to while lightly dozing. In fact, I think I've spent more time listening to this CD while taking catnaps than nearly any other album I own. And in true Pavlovian fashion, listening to Karma at any other time makes me want to take a nap. While not necessarily as unusual as their earlier material, Delerium does this sound justice on Karma, making it a very pleasant, unobtrusive listen.

Review by John Chedsey

Review date: 10/2003

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Somewhere along the line, Delerium has become quite dull. Early on in their existence, this project (one of many for Front Line Assembly's Bill Leeb and Rhys Fulber) was a rather unique endeavour that created a creepy sort of medievalistic ambient music that scored points for atmosphere and mood. However, by the time Semantic Spaces rolled out in 1994, Delerium was wandering into the Ethnic Music For Dummies field, but with fairly good results. Both that album and Karma are fine examples of mixing a worldly sensibility with danceable rhythms and ethereal female vocals. However, by 2000's Poem, Delerium seemed to be making great strides towards being mostly pop (still with fairly good results). But with Chimera, the band's latest release, Delerium has strayed right into the territory of pleasantly dull adult music for those who think world music could be played at a yuppie dance club.

Chimera features a whole bevy of lady singers, although Sarah MacLachlan is absent. Despite the myriad of voices, these women do all carry the same floating style, which only makes sense since the songs are quite similar in approach throughout. While Chimera is consistent, the drawback is that it is consistently plain and unobtrusive. This is the sort of album one might put on when one needs light music while taking a nap. At times, Delerium sounds like Club-Lite music such as Olive, offering nothing more than superficial pretty song bases and very nice, but ultimately vapid singing. Delerium has been able to overcome the hurdle of being pedestrian, despite the chosen style, in the past, but Chimera sounds like it has been distilled to the point where all challenging aspects have been boiled away. Chimera is by no means offensively bad, but there's little of substance that makes it stand out, either. I suspect this is an album for aging thirtysomethings who are beginning to think trousers with a hidden elastic waistband are a nifty idea.

Review by John Chedsey

Review date: 12/2003

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