![]() The primary problem with Extraordinary Ways is apparent from its opening frame, as the beat to “Endless Dream” kicks in. The release of Conjure One’s second effort, Extraordinary Ways, sees Fulber expanding on the sound of the first album with what could be the poppiest set of songs to date from either himself or Mr. Generally, Conjure One is more interesting than the later Delerium efforts without Fulber, but there isn’t all that much to distinguish the former from the latter, save that Fulber has a more “worldly” (in the most generic sense) sense to his music, and the production sounds crisper. By 1997, they were enlisting Sarah McLachlan for guest vocals and winning Juno awards for dance recordings - as their productions became more polished and refined, their sound grew poppier (think Madonna’s “Frozen” with Gregorian chants added), and their worldwide popularity exploded.įulber split from Leeb in the late ’90s to work on his own solo efforts, eventually resulting in the first, self-titled Conjure One album, which happened to be … well, it was a lot like Delerium, really. In fact, despite Delerium’s status as a “Front Line Assembly side project”, Leeb and Fulber went on to garner more accolades and album sales for Delerium’s Enigma-esque 1994 release Semantic Spaces than they had for any album to that point in their career, and finding success on the pop charts in Canada. The two made a perfect duo, and eventually reached a point of prolificacy that saw them releasing two, even three albums per year under various monikers like Noise Unit, Synaesthesia, and, perhaps most importantly, Delerium. ![]() Rhys Fulber made his name as one half of industrial music giant Front Line Assembly - where primary songwriter Bill Leeb had the ideas and the bass lines, Fulber always had a knack for knowing exactly what it would take to fill out those ideas and build on those bass lines. ![]() ![]() As it turns out, in the world of electronic music and production, there is such a thing as “too perfect”. ![]()
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