Delphic have managed to justify the hype around their debut album, their ability to marry dance-floor electronics and rock in perfect harmony – with the talents of their producer Ewan Pearson – means that that the hype of the last 18 months was well-founded and ‘Acolyte’ is a excellent debut album.
I have no doubt that in a few years Delphic could become a massive international act and could definitely produce a piece of music that will incapsulate the sound of an entire summer – these might be lofty predictions but with their undeniable ability of learning new and intriguing techniques (just listen to their DJ sets) they might not be the finished product, but are laying all the necessary foundations to be a massive success.
So much has been made of their similarities to other famous Manchester bands – for me this is unfair, sure they share common ground but who doesn’t. What sets Acolyte apart from the many other debut albums is the dance floor veneer that has been applied by ex-Londoner Ewan Pearson, who now resides in the heart of of dance music, Berlin. His ability to add numerous flangers, delays, loops, beat repeats and noise mangling effects in a delicate and thoughtful manner is a true testament to the sound and abilities of Delphic and their producer Ewan Pearson.
The first five tracks are quite simple the best intro to an indie album I have ever heard. Clarion Call emcompasses high-energy rushing synths via Richard Boardman, powerful catchy-vocals and epic drums are all tied together with the pop ‘n’ clicks of Berlin. An impressive start.
Their first real anthem comes via the ever-pleasing ‘Doubt’ a mangled vocal loop makes up the basis of this track with a spine-tinglingly euphoric vocal chorus – this has long be a fan favourite and will feature in Delphic performances for many years to come.
‘This Monetary’ starts of fairly conventionally, but then the dance-floor kick-drum rears it magnificent head and metal percussive drums take over for a fast-pace tribal breakdown which combines with the chorus and snyths in perfect harmony.
Dark horse ‘Red Light’ is possibly our favourite track from the non-singles and manages to capture the euphoric nature of the opening salvos. Glitchy subtle percussion combine with the synth hook – what ever Ewan Pearson has done he has done it right.
‘Counterpoint’ is possibly Delphic’s strongest song with an undeniable vocal that make the hairs on the back of your neck stand up and take notice. Matt Cocksedge unleashes and mesmorising guitar solo which fits neatly with the pulsating drums and high-pass filters.
And to finish off the album ‘Remain’ takes us down a notch, it’s a slower, more emotive singing from vocalist James Cook, but brings you down to a gentle finish from the dance-floor epics that have come before it.
Delphic’s debut doesn’t disappoint in any way, sure their are a couple of weaker tracks on the album, but this is true of every album I have ever heard. On paper they have all the components to be even bigger – a fantastic vocalist James Cook, Manchester’s best drummer Dan Hadley, multi-instrumentalist Richard Boardman who is alaways looking for next piece music tech and a lead guitarist Matt Cocksedge that purest will love.
We have unreleased remix of Counterpoint from Manchester producer Lumino Music.
Enjoy and please support Delphic by buying their Debut album ‘Acolyte’ which is released this week.