DELERIUM THE BEST OF ALBUM NETTWERK RELEASE: SEPTEMBER 6, 2004 REVIEW: SEPTEMBER 16, 2004

Nothing can beat a mind bending, nail biting scary movie. No other genre can cause your nerves, muscles and psychological impulses so much stress. "The Blair Witch Project", "Silence of the Lambs" and "The Ring" are examples of contemporary classics that had me trembling at the edge of my seat and still I treasured every straining moment of it. Even some of the more twisted, blood-cluttered films, like a couple of Dario Argento's or Lucio Fulci's demented zombie stories can (or should I say could, it's been a while since I watched their work) send delightful chills down my crooked spine (I have an appointment next week, don't worry). Some, or most, of Delerium's early work would, most likely, have worked wonders as background scores to mentally challenged serial killers and their gory quests. Dark, brooding electronic ambient sounds were the hallmark.
Until 1994, that is. What happened then caused a bit of a stir within the ever growing fanbase surrounding Leeb and Fulber. "Semantic Spaces" introduced female vocals to their multi-layered keyboard arrangements, by hiring Kristy Thirsk (known to some of you from Rose Chronicles, perhaps?) to provide what was to become Delerium's new formula. It opened up a whole new world for the band and would later give the duo wide recognition, both on native soil in Canada, and in the rest of the world. 1997 saw "Karma" released, an even more ambitious record with an impressive palette of guests vocalists, including Sarah McLachlan who gave the band their biggest hit to date, the epic "Silence". Two more albums in the same vein, "Poem" and "Chimera", have since then been released and so, the label thought, the time had come for a best of.
Fittingly, this "Best of " samples three or four tracks from each of the last four albums (albeit in edited, cut versions), some of which appear in the trademark trance remixes always present on the band's single releases. But long time fans, do not despair, for two new tracks are crammed onto this 70 minute disc as well as another (come on!) remix of "Silence". Aude gives one of the new tracks, the French sung "Paris", a fair share of sensuality and the bombastic music frame sounds somewhat more electronic than usual.
While some of the band's fans from phase one, so to speak, have long since abandoned Delerium, this is nothing but spectacular, as every inch of the creative process can be heard through truly multi facetted songs that will please both yourself, your partner and your grandmother. Commerical, perhaps, but absolutely glowing. If only they had included "Daylight".

NIKLAS FORSBERG