Reviewing early Delerium is always a bit of a challenge. Prior to Silence, the vast majority of their work was dark, spacious, instrumental, a little industrial, and very different indeed from everything that came after.
Morphology is a case in point – among the long pad swells and growling acid bass line are periodic industrial beats and obscure spoken word samples, and just generally nine and a half minutes of musical space. It isn’t beautiful, exactly, but it is very good.
What’s interesting, in a way, is how similar it is to the later material, though. The big change was the addition of vocalists – firstly just on a couple of tracks with Semantic Spaces (released an astonishing two weeks earlier), and by Karma (1997) and Poem (2001) on pretty much every track. But other than that, the sounds and style on Spheres II is actually very similar.
It’s easy to forget that Delerium was, for those first five years, pretty much just a side project of the much more successful industrial, almost electro-metal act Front Line Assembly. By the end of 1994, Bill Leeb and Rhys Fulber already had eight albums to their name under that moniker – but they had also released as many albums again as Delerium, and were showing no sign of slowing.
Lacking the vocals, though, makes this all seem a bit more lacking in direction. Transhumanist is driven by a slow, churning acid bass line. You can see how this outlet for broader, longer, tracks would have appealed to Leeb and Fulber, and so the change that came next is all the odder, in a way.
Having started out with two albums in 1989, one in 1990, another two plus a huge EP / mini-album in 1991, they were already pretty prolific right from the start. Oddly, they had then disappeared for three years, one assumes working hard on writing and recording what would become Spheres (February 1994) and Spheres II (September 1994). Then in the meantime, they also recorded Semantic Spaces (August 1994), which added their first vocalist and paved the way for Karma, and ultimately the mega-hit Silence.
That would be, for anybody, a pretty odd release schedule, and quite why they didn’t decide to hold Semantic Spaces back a few months is a bit of a mystery to me. You can only assume that they decided they liked the new direction better, and decided to rush-release the remaining old stuff before launching in too deeply. But either way, I think it’s safe to see Spheres II as the closing piece of that early era – even if it actually appeared a little after the new one started.
Shockwave is an oddly titled piece – you want it to be huge and explosive, but it’s a gentle, tentative, and drifting piece with weird glitchy vocal samples and hard stereo mixing.Four minutes or so in, it grows into a beautiful, pad-filled, glitchy analogue piece. Some of Delerium‘s early material is so vague that it’s pretty much inaccessible to most listeners, but this is an exception.
It never really stops being pleasant, though – Dimensional Space, one of the shortest tracks on here, clocking in at a mere five and a half minutes, is broad, expansive, and populated mainly by pads. It’s almost orchestral in the way it plays out, although I’m not sure quite how this would play out if an orchestra tried to repeat it.
Hypoxia is great – probably my favourite track on here, actually – it has a wonderfully analogue eighties feel at times, with plinky plonky sounds and softer, less industrial sounding drums. It grows into a huge, Blue Monday-esque choral pad. It’s brilliant – in fact, the only thing I’d change would be the name – as I understand it, hypoxia is a state of panic and anxiety caused by oxygen deficiency. That’s an industrial title – this track feels neither panicked nor anxious to me.
Otherworld is the shortest track in here, although still nearly makes five minutes. It’s a sweet, rippling synth piece, with simple but pleasant chords played by pads, and oddly reverberating chimes. And finally comes In Four Dimensions, which starts with an almost ticking clock, before oddly growing into a weird, Amazonian piece, sampling heavily from Recoil‘s debut 1+2 EP. It’s long – so long, actually, that it’s hard to really enjoy over its full twelve and a half minute duration. It has moments that lift it, such as the rippling synth arpeggio half way through, but it’s not, on the whole, the most exciting closing track ever.
To describe Spheres II as the best of Delerium‘s early material would be a leap for me, as I simply don’t know the rest of it well enough. It does feel more like a compilation than a decisively sequenced album, which lends credence to the idea that it might have been a rushed release. It is mature, though, and well produced – this, to me, is the sound of a duo who know what they’re doing and are comfortable with their sound, but are just in a bit of a hurry to get it out of the way so they can move onto something else.
You’ll struggle to find it new, but second hand copies of Spheres II are widely available.