Due for release on Nettwerk America in more than two months from now (Sept 17th), Chain D.L.K. in collaboration with MSO promotions is proud and pleased to offer you a sneak-(p)review of "Conjure One", the first solo creature of well-known and rightfully respected Front Line Assembly / Delerium co-mastermind Rhys Fulber. We all knew that Bill Leeb is capable of miracles and now, if you even needed a proof of that, you also have Fulber's producer take on what a solo album should sound like. Perfect symbiosis of electronic music and pop music, a 'synesthetic electronica' if you would, but also a bridge from west to east vibing with world-music influences (Middle-Eastern and Mediterranean mainly) and flirting with radio-friendly vocal interpretations. Oh by the way, speaking of Synaesthesia (one of Bill & Rhys' many cool side-projects), a number of songs have percussive elements in common with that great record of theirs called "Embody" (listen to Conjure One's song "Redemption" if you need a perfect example of what I am talking about)...
A gorgeous, thrilling and majestic cinematic intro opens this beautiful album, but its rapturing and harmonious balance is carried on by an outstanding line-up of female vocalists including Sinead O'Connor, Poe, Chemda (Israel), Marie-Clair D'Ubaldo (Argentina) and by a team of skilled composers including Billy Steinberg (Madonna, Bangles), Tom Holkenborg (Junkie XL), Rick Nowels (Madonna, Dido). They all bring something special and truly unique to the table. The singers' very personal voices and styles breaths new character into the songs and their geographical background unmistakably emerges and helps lift the compositions to a whole new level where ethnicity becomes a signature and purity becomes a strength. Their contribution, teamed up with epic atmospheres, distant soundscapes, ethereal melodies, electronic textures and orchestral greatness are the forces at work here. Forces that breath like wind, burn like fire and flow like water. All elements, starting with the synthesized grooves, textures and bass lines, the relaxing and lush pads, the vocal performances and down to the terrific job with the string arrangements (by Chris Elliot; performed by the Vancouver Symphony Orchestra) acting like a coesive glue in a great masterplan, interact pursuing the key to success and playing a specific role in the final orchestration of Rhys Fulber's craft. If you absolutely need comparisons think of Delerium's "Karma" with spotlights on haunting dreamy textures and old-continent traces. It took him three years and lots of travelling (the album was recorded in Vancouver, Amsterdam, LA and London) but it's all there and you can and will hear it. It delivers, it really does.
PS: Read the interview with Rhys Fulber in the interview section.