Ever since helping to jumpstart the "modern worship" sub-genre of Christian music in the 90's, I've considered the UK band Delirious? to be one of the best examples of a hard-working Christian rock band. Ever since their first proper album, King of Fools, was released stateside in 1998, they've averaged about an album per year, stopping momentarily to deal with their US label's refusal to release the more mainstream-oriented Audio: Lessonover?, which resulted in the unfortunately rushed, rearranged, and remixed collection Touch. They quickly recovered from that minor blemish with 2004's World Service, a return to the worshipful tone of their best albums, with more personal reflections here and there, just like they had always done on their earlier albums (the Cutting Edge tapes being an early exception, with their mostly congregational focus). Now, with World Service having had just enough time to rack up some popular singles (including the surprise German hit "Inside Outside") and maybe a modern church standard or two, but not enough time to start gathering too much dust, they've come back with The Mission Bell, another in-your-face declaration of praise to God that tries a few new things while still sounding like the Delirious? that many fans know and love.
Now, are they still the band that I know and love? Listening to the first few tracks on The Mission Bell, I honestly wasn't quite sure. Part of me started to feel like maybe Delirious? had "been there, done that", like their newest anthems, particularly the ones tagged early on as being future smash hits (the language with which they describe their own work can be as immodest as Bono's descriptions of every new U2 record at times), were trying too hard to hammer home a feeling that would have been better communicated with more thought and subtlety. I haven't always felt this way about Delirious?, of course - many years ago, it was easier to instantly fall in love with the "big rock hits" like "Deeper", "Bliss", "My Glorious", etc. And I still love those songs, as well as several of their more recent rockers. But along the way, albums like Mezzamorphis, Glo, and Audio: Lessonover turned me on to a more textured and quietly intense side of Delirious? that has been changing and maturing throughout their history. Even in the Cutting Edge days, despite how much of a bore those songs could be to listen to in large quantities due to their simplistic repetition, they could pull off a glorious slow burn with a song like "Thank You for Saving Me" or "Obsession". Over time, electronic tinkering and subtle keyboard and guitar work became more noticeable during those slower moments, and when the band hit it just right, songs that might have seemed boring on the surface could turn into the stuff of dreams. This quality was largely missing on World Service, with the slower material being less satisfying to my ears ("Majesty" excepted), and at the beginning, I wondered if that same sonic regression was going to plague The Mission Bell as well.
Thankfully, I was wrong. While there might be a few dull songs that just don't work out so well, a few rockers that don't really hit the mark, and a few more head-scratching lyrical moments that only make sense to the mind of Martin Smith (not normally a bad thing for a songwriter, but his apparent non-sequiturs in the middle of more straightforward songs can trip me up much like Bono's often do), there's still enough on The Mission Bell to make it an interesting and enjoyable listen. This isn't just Delirious? going through the motions to bag another hit album. They're certainly channeling less U2, Coldplay, and Radiohead these days, so while you can still hear the vocal crooning, knob twiddling, and anthemic crescendoes that they picked up from those bands, I think they're finally learning to evolve beyond just being a sum of their influences. I can hear things they've never tried before (Political protest meets a praise chorus? Twangy hip-hop with a Gospel choir? The accompaniment of ethereal chanting and steel guitar?), and a few new classics are found within that don't sound like every other Delirious? song we've heard. It may be a slight step down from World Service in overall consistency, but I think it's a step up in diversity and artistry, so hopefully, they'll figure out how to reshape these new ideas into something even more solid, akin to Glo, as they move forward.
There's really no telling whether those who are cynical about the modern worship will get into this one as easily, but for me, there's enough of a balance between the "congregational" and "personal" types of songs that I can appreciate both sides. It's not a mindless sing-along, nor is it an insular singer-songwriter collection inaccessible to a church setting. Some songs will fit better than others, but this variety of moods is what makes Delirious? stronger than a lot of their counterparts, in my mind - they serve multiple purposes for the Christian listener.
Stronger
We're getting closer everyday
Chasing the dreams that heaven gave
Hallelujah, here we come...
It's a bummer that they had to start the album off with such a dull song. I complained about the presence of this tune on Songs Inspired by the Chronicles of Narnia since it had jack squat to do with the story, and while it's more relevant on one of Delirious?'s own albums, it's still a bit plodding and way too obvious in its approach. While hammering into our heads a slow, direct piano rhythm in 4/4, Martin Smith proceeds to unleash vague spiritual encouragement such as this gem: "We're getting stronger everyday, we're getting braver in every way". His falsetto is somewhat pleasing as he croons "Hallelujah, here we come", but the band never seems to get going enough to really back up the inspiration. It relies too much on emotion and not enough on skill, I think, and by the time it bubbles over into a chorus of "Oh, I love You" repeated again and again, it's long since passed the point of being skip-worthy. Delirious? usually opens with a pretty strong song (even "God You Are My God" on Glo was dynamic despite its simplistic repetition), so this one's a pretty big disappointment by comparison.
Now Is the Time
The river's running through again, rejuvenating
For everything You touch, You change
And we've all been changing...
Picking things up with more of an upbeat tempo is a more straight-ahead Delirious? rocker, clearly designed to be a big "rally the church" anthem, but for some reason, this too rings hollow. Maybe the earnest melody feels too "been there, done that" in reference to early albums like King of Fools; I don't know. Maybe the chorus, with its declaration that "Now is the time for us to shine, shine with the face of Christ divine" just doesn't get things moving enough - this feels like a slightly sped-up version of a mid-album track that forms a bridge between a mellow, intimate song and some more rocking material, so track 2 is too soon. I will say that it gets more exciting when a choir breaks in, heating up the bridge with their cries of "Jesus, Jesus, precious Jesus". Stu G. finally gets to come out of his shell with a little bit of fiery guitar noise, but the tracks settles back into an uneventful ending before much more can be done with it.
Solid Rock
There's a song that doesn't fade
It never fades, it was custom made
To raise the sons and daughters of this earth...
Yay, a curveball! I really like it when Delirious? experiments with new sounds, because they often get something anthemic and epic out of their genre dabbling. This one works as a sort of "groove anthem", with a twangy guitar loop plunking along to a head-bob-inducing backbeat from Stu Smith, and choir-driven chorus that positively erupts from the speakers. We get to feel the mountains tremble with a little Gospel music on the side - something like that. Martin's lyrics are simple musings on a God who remains the same yesterday, today, and tomorrow, wrapped in a chorus loosely based on the hymn "The Solid Rock". One complaint here - the rhyme "On Christ the solid rock we will stand, all other ground is sinking sand" works so well in this new setting, and the punch with which the words are delivered leads us to expect another rhyme at the end of the chorus, so why did he settle for "We'll climb on Your back, take us to higher ground?" I mean, "land" is a perfectly acceptable synonym, and it doesn't sound half as awkward. That quibble aside, the song takes another interest turn when Toby Mac shows up to rap the verses to the original hymn. OK, so that sounds pretty stupid on paper... and actually, it sounds pretty stupid the first time you hear it on the CD as well. I mean, did the Christian music world really need yet another Toby Mac guest spot? But after a few listens, his part really starts to become integral to the song, despite its cheesiness. In a weird, Kirk Franklin sort of way, it actually works, in terms of helping to bring the song to a fervent boil before it finally stops on a dime.
All This Time
So how can I serve God and wealth?
I can captivate an army, but I can't control myself...
This one definitely takes a cue from "Inside Outside", with its more introspective lyrics sung over gentler guitar playing, while maintaining a fairly brisk rhythm despite the mellow mood, and slowly building toward a hard candy center of buzzing guitars before settling back into its milder groove. Martin Smith is asking some tough questions about himself, pondering the man he appears to be in the eyes of those who watch him on stage, and realizing that he has the potential to live a bit of a double life. Stu G. gets to voice a few of these reflections, actually, his voice digitally altered and sounding like it's coming from underwater. But he gets some of the best lines: "My life's a show on God's TV, the world an audience, watching me". Martin passionately sings his devotional offering in the chorus: "All this time, since the day that I was born, I've never known a time like this, I don't want to let You down". I like devotional songs that admit we're not perfect, but still promise to try, rather than the ones that profess lofty aspirations of total sinlessness. They just ring truer this way.
Miracle Maker
I'm waiting here for my life to change
When the waters stir, You can rearrange me...
The album's first slow burner starts off almost inaudibly, with Martin's quiet voice and a lone piano. (In many ways, this reminds me of the approach taken by the reverent classic "Kiss Your Feet".) Martin's plea here is for a heart change, for God to perform a miracle and change his attitude and heavier, and this works well in context of the last song, though when it stands alone, the lyrics are a little more pedestrian by Delirious? standards. The moody chorus of "Holy, you are holy" comes across with a strong air of reverence, though - there was an advantage to slowing this one down and letting it build gradually, with a slightly darker melody to drive it along. Again, we get the help of a choir to perk it up near the end, and that's one element that generally hasn't gotten old ever since Delirious? Started to employ it more frequently on Glo.
Here I Am Send Me
I'm in Jacob's dream, seeing heaven's gate
Let me climb all night on my ladder of faith
Wrestle with the angel 'til my body is weak
Dislocate my bones, for it's You that I seek...
A meatier rocker shows up here, which is the perfect choice to keep the pacing from getting too bogged down at this point. Stu G. gets another chance to be heard in the verses, though they seem to like tweaking his voice this time around, because it sounds like there's two of him (or else Martin is singing along and I just can't tell the two apart). This one makes reference to a few prophets in the Bible, expressing a wish that we could see their visions and dream their dreams, to better motivate us to bring God's message to the world like they did. "Touch these lips that criticize", Martin pleads, "and put a song in my mouth that opens my eyes". I'm not sure it's a coincidence that those lines seem to echo U2's "Yahweh", but truth be told, I think this song comes off a little stronger than that one did.
Fires Burn
And Your bride across the earth is pushing through
And we're glorious when we mirror You...
I'm totally mesmerized by the darkly hued chord progression at the beginning of this one, after which Stu Smith begins to tap out a gentle but moving rhythm. It's another interesting experiment in texture for Delirious?, and less turns out to be more in terms of making this song majorly catchy without it being so in-your-face. The band has claimed that this one was inspired by a scene from The Return of the King where signal fires were being lit atop mountains, and while the full lyrics isn't meant to be a Lord of the Rings analogy, I have to say, that's definitely a great movie scene to take inspiration from. The Gospel message being spread throughout the Earth is hardly a new topic for Delirious?, and the chorus which states "Your home is where my heart is" can seem a bit cheesy, I really like how the mellow flow of this one breaks into the celebratory chorus rhythm, keeping the same basic rhythm and speed but making the song suddenly come alive. I like the way that the chords, and Stu G.'s guitar lead, twist and turn during the bridge - melodically, it's one of Delirious?'s most unique and compelling pieces.
Our God Reigns
The west has found a gun, and it's loaded with "unsure"
Nip and tuck if you have the bucks in a race to find a cure
Psalm one hundred and thirty nine is the conscience to our selfish crime
God didn't screw up when He made you
He's a Father who loves to parade you...
As "Fires Burn" fades out, it bleeds into this moody anthem which is a bit of a strange beast for Delirious? They've made a few statements about politics and moral decay in society on past songs like "America" or "Gravity", but I've never heard them juxtapose such sentiments with such an obvious praise chorus. This was a really jarring approach to me the first few times through, especially given how unflinching Martin's lyrics are: "The devil stole the rain and hope trickles down the plug, but still my Chinese take-away could pay for someone's drugs." This description of hopelessness, evil, and apathy taking over the world doesn't seem to gel at first with a chorus that so confidently declares "Our God reigns, forever Your Kingdom reigns!" But in the end, I think I like it better than if they had just written direct praise song lyrics to go with the chorus. It's a statement of faith in a situation where it seems like it would be impossible to have any, and that's meant to challenge the Christian listener used to just hearing happy thoughts on worship albums. Things get a little repetitive near the end, but I'll give them credit for being different on this one, successfully fusing a Mezzamorphis-esque verse (electronically munched-up drums, soothing keyboard ambience and random whistling, all that jazz) with a Glo-esque chorus replete with more fervent choir participation, and Martin working himself into a faithful frenzy as he always seems to do.
Love Is a Miracle
Love is where you abide
It sees every side, it crosses the great divide
Love took hold of my hand
And taught me to walk, it's time now to make a stand...
Here's where the mellow moodiness doesn't work out so well. I like that Jon Thatcher is a little more noticeable here, rumbling about with his bass underneath the shifting minor chords. But this one just seems to pale in comparison to "Our God Reigns" when the two are placed back-to-back, as this one has a more easygoing declaration of love changing a person's life, and we've really heard all of the miracle stuff that we needed to hear in "Miracle Maker". Also, when the chorus states "Your mercy catches me when I fall", it's almost melodically identical to the line "Your grace has found me just as I am" from "Majesty". Delirious? can be guilty of reusing their own musical and lyrical ideas at times, and the moody verse/exultant chorus thing has just been done so much better in more poignant songs on earlier albums.
Paint the Town Red
You know I feel this sky's about to break now
You know I feel our city's gonna shake now
And we hear you call every woman and man
Ring the mission bell, and storm the gates of hell...
OK, so they picked this one as a mainstream single? I guess I can sort of grasp that, with the guys doing their best "The" band rendition of a quick and dirty guitar-fest that runs to a scant 2:19, and Stu G. borrowing a trick or two from U2's "Vertigo". But do you seriously think for one moment that a song about ringing the mission bell painting the town red with the blood of Jesus is going to catch on with the general public? Sure, Christian understand the blood metaphor as representing forgiveness and redemption, but still... painting with blood? Ick. Martin's delivery here is also a bit more on the obnoxious side, and you've got to have a certain amount of swagger to really pull that off. It doesn't work so well with his voice, and the melody and repeated cries of "Ohhhhhh! Here we come!" come across as more cocky than devoted - as if they're off to win some sporting event or something. It's fun ear candy, but rather embarrassing if you actually pay close attention.
Take Off My Shoes
Why did you call, why did you wait
For someone so guilty, someone so fake
There are no words for my beautiful song
Now I'm in the arms of my beautiful one...
The album's penultimate number, which is also its longest track, takes a cue from extremely slow-burning songs in the band's past such as "Intimate Stranger" and "There Is an Angel", with the guitar oozing out gentle, ambient sounds as Tim Jupp's piano gently rolls through. It's pretty, but somewhat tonally repetitive, which can become problematic over the course of six minutes. Martin also has this weird preoccupation with shoes and boots that keeps coming up in his songs - I can see the significance here, in terms of recognizing that one is standing on holy ground, but it still reminds of awkward shoe references in other songs, so it's kind of weird to title the track after just one line at the beginning (then again, Delirious? does that quite frequently). This is definitely one of those "inner sanctuary" songs, meant more for meditation than for a grandiose sing-along, and production-wise, it's top notch. Lots of delicate sonic details to gush over here. I just wish that the lyrics were a bit stronger, and that the melody had the chance to vary a bit more before the crescendo of crashing cymbals and blazing electric guitar came to finish it off.
I'll See You
I'll see you when the wind blows, running without fear
Born to rest in your Father's arms, your joy has dried the tears...
Well, this album didn't have a typical opener, and they didn't settle for a typical closer, either - in this case, that's a good thing. Instead of a long worship anthem, we get a more personal song in its place - something akin to an "August 30th" or "Summer of Love". The background here is lush and acoustic, with a steel guitar played by Jars of Clay's multi-instrumentalist Steve Mason (maybe he's returning a favor for Martin Smith's appearance on Redemption Songs?), which paints a subdued watercolor sky over which Martin's lyrics sketch a picture of Heaven. The song is written to a loved one who has already passed, and Martin sings of looking forward to having that person lead him to Jesus' feet when he gets there. It might be a little too "I Can Only Imagine" for some folks (though I can guarantee this'll never be a radio hit due to its near-lack of percussion and total lack of a chorus), but I think it's another lovely exercise where the texture compliments the lyrics. The icing on the cake is that Moya Brennan (better known as lead singer of Clannad and sister of Enya) drops by to add her humble but delicious vocals, softly "ooh-ooh"ing in the background amid all the other lovely sounds. Martin makes the strange choice to interject several passionate "Woo-hoo!"s as the song comes to a close, which he's said is the only response he could think of to the joy of seeing that person again. It's another one of those things that sounds retarded at first, but makes more sense on repeated listens.
And that's it, folks. Definitely an album that has its share of missteps and mood swings, but in the end, I feel like Delirious? is still moving forward. I don't mind if they intend to keep a core sound, as they generally sound awesome with their big stadium rock thing going on and the choirs firing on all cylinders, but I also really appreciate the fact that they try a few new sounds on for size every album. If they can keep up the good work in that department, while taking more care to not rewrite the same thoughts expressed in earlier songs so often (especially those of the "Here the church comes and it's gonna be a big awesome revival!" variety, which are beginning to get tiresome), then they could hit us with another truly classic album next year or so. For now, I'll settle for merely "pretty good", as there are plenty of rocking moments and ambient moments on The Mission Bell to make it an excellent choice to accompany my more reflective and worshipful moods.
ALBUM WORTH:
Stronger $0
Now Is the Time $1
Solid Rock $1.50
All This Time $1.50
Miracle Maker $1
Here I Am Send Me $1.50
Fires Burn $1.50
Our God Reigns $1
Love Is a Miracle $.50
Paint the Town Red $.50
Take Off My Shoes $1
I'll See You $1
TOTAL: $12
Band Members:
Martin Smith: Lead vocals, guitar
Stuart Garrard: Guitar, backing vocals
Tim Jupp: Keyboards
Stuart Smith: Drums, percussion
Jon Thatcher: Bass
Website: http://www.delirious.org.uk
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