Delphic "Acolyte"

It's tough to find things to say that haven't already been said (or DONE more to the point as this dance/post-punk genre snapping release demonstrates). There is no evil in this; if anything, I can safely say that if 'indie-dance' decides to take a step in a Delphic sort of direction, I wouldn't rejoice - but I'd be content at least. Personally, I think the lyrics uttered in the "This Momentary" single do more than enough to confirm the New Order influence (often denied by the band) than any amount of Peter Hook basslines present on the majority of the album can. However, where I've used the "New Order Part 2" tag to describe a whole plethora of modern upcoming British and American groups alike, the bandmembers might actually be telling the truth this time when they say they don't intend to recreate the Hacienda sound in any way - but it's happened regardless. It may be a sign of the times (good or bad) for Britain's seemingly fledging indie spectrum that currently lacks in quality.

I'm aware (having being exposed to it often enough) of Ewan Pearson's credits. Considering that recording sessions for "Acolyte" took place in his Berlin home studio, it's not difficult to perhaps envision his role as being closer to director, more-so than mere producer. Delphic are after all a young trio, and this is, after all, a debut album released at the mouth of the 'teenies' decade. So when I listen to songs such as the title track and "Red Lights", I think it would be irresonsible to not suggest that Pearson is trying to recreate the delicate 80s-esque progressive mini-tech he spearheaded (lulled?) on M83's "Saturdays=Youth". Noting the critical success of that album two years ago, this is not the dumbest idea when faced with the platform of producing the UK's "#3 hotly tipped for 2010". Spelt out, this album is not adventurous - a fact that is only regrettable because, spelt out again, you'd be forgiven for thinking you've listened to this album before. Albeit I still enjoy it (and after a few listens getting my ears around it, very much so), but it's not new.

My favourite elements of the album are any locations where alludes to minimal techno (Pearson and Delphic themselves being alleged Kompakt followers) or progressive dance structures are made obvious (both exist in abundance on Acolyte which, whilst being unencouraging to the ignorant, is its saving grace). The singles "Halcyon" and "Counterpoint" (both titles obviously, but painfully, namechecking dance monoliths Orbital and CJ Bolland respectively) seem almost throwaway and unspecial as promos, but the latter showcases such a shimmering synthline in the latter half of its duration, it's hard not to be slightly enamoured on the second listen. The only song that fails to impress on the whole album ("Doubt") is a damp corner in the cave, but thankfully it's planked on at the start and fired out early on.

What happened to Delphic's hype? They wondered into our consciousness with a great album; we applauded their live performances and their efforts and now the memory has spiritually dissolved. This album is a boldly escastising release and I'm going to be the first reviewer to have to balls to say to fans of M83 (especially "Saturdays=Youth" and even "Before the Dawn..."), "Acolyte" is ideal listening. Hell, if you like the Chemical Brothers, you will love this also. The title track, being an amazingly energetic and lengthy instrumental, is a dance epic for 2010, grandly distinct but still in tune with the rest of their output.