8/10/2023 0 Comments Conjure one![]() That never, ever happens through the entirety of Extraordinary Ways. ![]() When I’m listening to music that’s generated using a computer, the beats need to grab me, pull me in enough to care about listening to anything else. Fulber seems to generate all of his beats from the Generic New Age Beatmaker (G-NAB), coming up with drums that float along and keep time well enough, but never actually engage. 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. Although it contains a few newer Conjure One songs and remixes, the songs are actually renamed versions of songs by Poe, Balligomingo, and Fauxliage, among others.As it turns out, in the world of electronic music and production, there is such a thing as “too perfect”. The album Reasons to Disturb is attributed to Conjure One, but Fulber has denied involvement in its production. The albums see Fulber collaborate with various guest vocalists, including Chemda, Poe, Sinéad O’Connor, and Jaren, while the latter two records have also featured backup vocals and bass performances by Leah Randi. Since the release of the eponymous debut album Conjure One in 2002, Conjure One has produced three albums to date, including Extraordinary Ways in 2005 and Exilarch in 2010, all published through Nettwerk. Since the release of the eponymous debut album. It can also be observed to seek a fusion between the contrast of organic and electronic sounds, sometimes leaning more towards one direction than the other. With a stylistic origin based in the genre of electronic music, his songs usually range between downtempo, ambient and pop, also bearing strong influences from world music and Central Asian culture. Conjure One is the label given to the creative outlet for Canadian producer Rhys Fulber, former member of the electro-industrial band Front Line Assembly and the ethnic electronic duo Delerium.
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