CONJURE ONE – Conjure One

Pop music textbook, chapter 23:
Electro-beats + female vocals + etherial sounds = Delerium

Right? No??!

The first album by Rhys Fulber since his departure (WHY?) from abovementioned project is a product created using the same formula (WHY NOT?), and it works. With Middle-Eastern spices added ( in form of Chamda’s singing) and Mr.Khalili instead of Mr. Leeb, Conjure One has it’s own uniqueness. Fulber’s trademark polished electronic sculptures are perfect base for exotic vocal drives (“Tidal Pool”, “Years”) making them the best tracks on this album. ‘Premeditated hits’ are designed with help of Sinead O’Connor (“Tears From The Moon”), Poe (“Center Of The Sun”, “Make A Wish”) and Marie-Claire D’Ubaldo (“Manic Star”,” Sleep”). Good tracks of course, but far too conventional. It seems like they were manufactured thinking about sales not quality. Also, the lyrics are… forgettable (Note to Nettwerk: if you want to craft album as good as “Karma” try with the originals: Ms.Thirsk, Ms.Henderson, for instance). “Pandora”, “Redemption“ and “Premonition” are songs that prove the mastership of Fulber’s skill. Like we had any doubts.
Overall, Conjure One’s selftitled album is a signature work of Rhys Fulber – meticulous, precise, well-rounded. Whichever project he’s involved in he contributes those qualities. It’s good that he helped on the forthcoming Delerium album. And it is good that this edition is out after ten years of making. We just hope that the next one will take a little less time.

BONUS DISC should be looked at seperately from the album. Perverse mutations of accelerated vocals to match the beat of “dance versions” to be played in popular clubs are plain ugly. Also, if you’re making a dance track, you use just a sample, not all the vocals. Simple. That is why Max Graham’s ‘Dead Sea Mix’ of “Redemption” is a hit. Excellent eleven minutes. Skip the rest.