Delerium

This album has very heavy percussion, and mixes them with haunting, and fleeting "ghost sound" synth samples. Like many of Delerium's early albums, it seems to tell a story, without words.

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.

Ambient, sometimes dark beats fused with industrialised gregorian chants make this album a must for any hardcore Delerium fan. There are 6 tracks on the first volume all over 5 mins in lenth. It is a album that is probably meant for 100 years in the future. Leeb and Fulber got the mix right and the CD cover is perfect, the back showing our moon and the front Saturn and its splendid rings.

This double album arrives late because it was announced time ago. It´s a collection of tracks from the early years of the band until "Signify" album, when they decided to change their musical path and explore new musical territories…

One of the first and best Delerium LPs, Morpheus leans closer to the pagan death-folk of Current 93 than any of Leeb and Fulber's more industrial recordings.

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".

Excellent introduction to the early days of Steven Wilson and his seminal band Porcupine Tree, with a thoughtful collection of album tracks, b-sides and rarities curated by Wilson himself, with the same attention to detail that we’ve come to expect from his flourishing solo career.