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Monday, January 11, 2010

Acolyte - Delphic

Best Buy Acolyte - Delphic

Album Acolyte

by Delphic

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1. Clarion Call

2. Doubt

3. This Momentary

4. Red Lights

5. Acolyte

6. Halcyon

7. Submission

8. Counterpoint

9. Ephemera

10. Remain

# Audio CD (11 Jan 2010)
# Number of Discs: 1
# Label: Chimeric / Polydor

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Reviews Acolyte - Delphic

This album I have being looking forward to for an absolute age. I am certainly in the majority who think this will be one of the greatest bands and album of the year, and what a great start to the new decade. This album has rekindled the passionate love affair of indie and dance superbly, which has being tragically undermined and unrecognised in the previous decade.

In this little preview we are going to discuss these, so that we will have more time for the bulk of the album (seven tracks) when it arrives in January.

COUNTERPOINT (March 2009) is a six-minute tour de force built on a syncopated rhythm whipped by flickering trance keyboards and shards of post-punk guitar. It sounds like a marriage made in heaven between Technique-era New Order and the first Orbital album, with an atmosphere that is tense and caressing at the same time. The lyrics are short but poignant, singer James Cook desperately repeating "Tell me nothing's wrong, today". And of course there is nothing wrong when tracks are this velvety and ferocious.

THIS MOMENTARY (August 2009) is softer in approach at the start, with liquid guitars and keyboards, a nimble 4/4 rhythm track and a waterfall of vocals drenched in melancholy. Then, halfway through, it all changes into a percussive crescendo that quickly escalates into frenzy. After a dramatic pause the starting motifs and vocals are reprised, leading to a soothing close. Electronic plus Virgin Prunes, anyone?

DOUBT (November 2009) reverts to a syncopated rhythm and displays a kraftwerkery feel (we even believe to have heard a sample from "Sex Objekt" at the start). The lyrics are more articulate, with gasping singing on the verse. Then a soaring synth figure takes us to the brink of a precipice, where the devastating chorus is delivered. All this is repeated twice, before a guitar coda closes the track with scratched, neworderian regret.

This is all we know about Delphic at the moment. But it is already enough to nurture great hopes. Also, do not be put off by the name New Order popping up too often; these people are no inferior imitators. They are simply excellent students, on their way to give their teachers a good run for their money.

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