Album Review: Delirious?, The Mission Bell
Enter the latest studio album from Christian Brit-rockers delirious?. Prominent themes are vulnerability and human frailty, the “last days” and imminent return of Christ, and surrender to divine purpose. This is definitely a message album, in which delirious encourage us to “ring the mission bell and storm the gates of hell” (“Paint the Town Red”). It is an album to rally the church together unto the banner of holiness. The songs are not so much congregational worship pieces as they are intimate poems meant for us to hear and be inspired by. Thematically, the lyrics go from save-the-world invincibility to utter brokenness, due to the weakness of human flesh. The Mission Bell is all not about a front-row seat to God’s final show on earth. It’s about getting out of the front-row seat and laying down our lives to be in the show, to demonstrate the glory of God to the world.
Stronger – A mysterious string vibration opens up this slow-tempo album-opener. The strummed acoustic guitar that provides rhythm for the song is nice and punchy, accentuated by the matching, in-sync drums. The most stunning thing about the song is Martin Smith’s vocals, which seem to explore more uncharted territory, with every new delirious album. The utterance of “Hallelujah” reaches such a high note, it seems the sky might split open. The song slowly builds. It’s a slow-burner, making it an odd choice for an album-opener. The nice thing is that it has the effect of “warming up” the listener and preparing us for the rest of the album, rather than launching us into an up-tempo rock attack. It’s a busy track, with the constant acoustic guitar/drums, and some nice fuzz guitar in the background. Strings meander in and out of the mix. It’s a pretty song that feels like the quiet before the storm. It’s a brave-spirited song that shouts out confidence in the power of unity and the need to push on into new spiritual territory, a sort of divine discontent. Musically, think Coldplay. It’s a unique album-opener, yet there’s really not much substance to the song. Delirious have done better, and I’m sure they know it. It’s the soaring vocals that carry the song and hint at a more raucous rest-of-the-album. 5/10
Now is the Time – A thrashing drum beat and several layers of punchy guitars open up this rocker about the church fully becoming like Christ and displaying glory for the world to see. The verses are poetic and escape cliché-ism. Musically, the band could not have worked this track any more. They’ve squeezed every possible drop of life-blood from it. One of their best numbers in years, which will prove stunning in a live setting. The guitars are raucous and the drums are pounding. Martin practically screams the words in the bridge, where the drums slow down, before a stunning guitar solo erupts. There are many different guitar solos and sounds in the song, accompanied by a surprising sequence of crashing piano chords in the chorus. If there’s a song that would make this album famous, look no further. Each member of the band contributes perfectly. The song gains more and more volume and instrumentation, meaning the listener never gets bored. The guitar in the chorus has an odd “diddle-dee, diddle-dee” effect that provides rhythm just as much as the drums do. This is a modern-day hymn to call the Church to rise up and fulfill its purpose. No doubt, by the end of this 4:05 minute song, you will be wondering if you’ve heard one or three songs. It is that good. 9/10
Solid Rock – A Johnny Cash-sounding acoustic guitar twang starts things off with a slow, steady drum beat. A really rocky electric guitar rhythm carries the verse melody, which explodes into another typical, well-loved, anthemic delirious chorus with several guitars going off at once. The most exciting part for me is the guitar rhythm in the verses. This is a re-vamping of an old hymn, “On Christ the Solid Rock.” The bass guitar is very funky. Woo-hoo’s after each chorus add to the “western” style of this song. Guest vocalist Tobymac raps the bridge, which fits perfectly. The song is hard to classify stylistically because it’s so eccentric. It’s got Johnny Cash, Red Hot Chili Peppers, western/country, and gospel influences. It takes repeated listens to hear every aspect of this slow-burning rocker. A little too slow-going at times, but new ground for the band and definitely a good song. 7/10
All This Time – Rock ballad time. 5:26 minutes of just pretty guitar. You can almost envision guitarist Stu Garrard stepping back, squinting hard, and closing his eyes as he plays the chords. The song is quite soft most of the time, with a slightly-louder chorus, and a sudden raucous guitar solo mid-song. This song wins best lyrics on the album, in my book. Look at some more of the lines: I’m a father and a son / I’ve been a lover with just one / But this world can get me all undone … / Please don’t leave me stranded here / With a head of lies and a heart of fear / My life’s a show on God’s TV / The world an audience, watching me…It’s a song of vulnerability, of desperation that God help us not mess up the chance He’s given us to serve Him. Martin and Stu share the singing of the verses. Stu’s ghostly vocals add a haunting air to the already haunting guitar. It’s a very beautiful song, and the guitar riffs will dance around in your head for quite a while. The guitar in the verses seems improvised, giving the song the feeling of not knowing quite where it’s going. The same with the lyrics. It seems like Martin started singing what comes into His head and it somehow comes together in perfect verse-structure. Some have said this sounds U2-esque. I would say it’s in a class of its own, my favorite track on this album, one of the best songs I’ve ever heard, and possibly my favorite delirious song ever – which is saying a lot. 10/10
Miracle Maker – A beautiful worship ballad that starts off with almost-whispered vocals and a few leading gentle piano notes from Tim Jupp. The vocals in the beginning are frail and beautiful. Then come louder piano notes, a slightly-edgy guitar, some cymbal-tapping and eventually a regular drum beat. Very reminiscent of Mountains High and I Was Blind from World Service. This is dark, brooding worship that screams out lines about the holiness and endlessness of God in a desperate, almost manic way that maintains a sacred beauty. Eventually strings and a guitar riff enter, making this an epic song. The song has grown on me a lot since I first heard it. The only problem I have with it is that when it reaches what is supposed to be its climax, it never has enough…something. Volume, complexity, something. It kind of reaches the climax mid-song, and tries to keep going for about two minutes, like it’s forcing the listener: “You will keep up this level of excitement now that we’ve reached it!” The beginning is great, when the song feels fragile and beautiful…and again when it ends with half-a-minute of piano notes. Maybe this was “Mountains High”’s strength, it was a bit shorter. “Miracle Maker,” though, should not be taken for a dimwitted track. The lyrics of adoration are full of the most conviction I’ve ever heard in Martin’s voice and the song has some stunning aspects. I think it’s a grower. Maybe the mid-section will sound less samey as time goes on. 7/10
Here I Am Send Me – This almost ties “All This Time” for best song of the album. Strangely, it was “Paint the Town Red” that was marketed as the “rock track” of this album, when I think it is “Here I Am Send Me,” which contains the punchiest guitars on a delirious track to-date. The opening guitar, Martin’s woo-hoo, and the little electronic noise signal a wild ride. Stu G sings the verses about the likes of Isaiah, Ezekiel, Jacob and others crying out for a more intimate experience with God, so that God could send them to go out and work. The verses are stronger than the chorus. Stu G’s vocals are sassy-sounding and near perfection. Musically, this is very powerpop. The dance-beat drums and guitars sound like Franz Ferdinand on steroids. The little electronic noises in parts of the song remind me of The Killers. You couldn’t ask for more from a song. The message is spiritually potent, the verses citing the prophets’ experiences with God and such. And then the song musically is a triumph for the world of modern rock. Oh, if we could get this on the air-waves and replace the other garbage on the radio! Guitar-wise, I didn’t know delirious had it in them to do a song like this. After chorus2, Martin’s screaming and that guitar solo are insane. Song simmers down as Martin sings some random lines …and then another guitar solo?...The song ends with the guitar in overdrive. It’s simply incredible. 10/10
Fires Burn – Delirious said the influence of the opening line was the scene from Lord of the Rings when the fires are lit across the mountains. Powerful inspiration. An atmospheric opening of keys and bongo drums leads the song. A powerful song about the longing for Christ to return and the need for the Bride of Christ to prepare herself for this occasion. This is a very moody number. Sounds like something from a movie soundtrack. Again a nice guitar solo…this album is full of them, a welcome return after their notable absence on World Service. Very clever when the strings enter pre-final chorus, as rapid violin notes provide the melody. Jesus, born to take us home. An interesting perspective. Jesus came to a place that wasn’t His home so we can be restored to our true home. 8/10
Our God Reigns – Reminiscent of “Intimate Stranger” from Glo, this is an album that deals with AIDS, abortion, and other sins/problems with this world in the verses and then turns around and utters the simple truth “Our God Reigns….forever your kingdom reigns” in the chorus. Martin sounds like he’s both groaning and pouting as he sings the verses, accompanied by eerie atmospheric sounds and a strummed acoustic guitar. The pictures of abortion and other injustices painted in the verses are quite disturbing, but we are comforted by the belted-out promise in the chorus that “our God reigns!” Powerful. Again, the vocals are a strength here, showcasing Martin’s ability. He can half-sing/groan/mutter the verses and then turn around and sing beautifully in the chorus. Piano, cello, a choir, and weird whistling-noises dominate the second part of the song. Toward the end a guitar reminiscent of that in the song “King of Fools” comes in as Martin feverishly sings over and over “He reigns, he reigns, he reigns, there is only one true God, forgive us all…as we fight for this broken world on our knees!” “White Ribbon Day” meets “King or Cripple.” A stunner that is nearly perfect. 10/10
Love is a Miracle – Among fans, this has been a criticized, even ridiculed, track. I’m not sure why. It’s a decent track, which I happen to really like. The bassline is funky, and the verse guitar is cool. The verses themselves are a bit boring, though. Theologically, it’s something we’ve all heard before, a bit cliché. The best part is the gospel choir in the chorus. It comes out of nowhere. The verses are sullen and subdued, and the choir just erupts and brings a smile to my face. And yet it is this gospel choir that turns some other fans off. I love it. Love it, love it. It holds the song together. A feel good song with a bit of a guy preaching in the middle, which is really stirring. A slappy-happy-clappy number. Martin singing along with the choir works surprisingly well. Again, though, it’s one of the less-prominent songs on an album of stunning songs. 6/10
Paint the Town Red – Hailed as the rock track for the album, with good reason! This contains the album’s mission statement. Up-tempo, powerpunk guitars accompany Martin’s stubborn-sounding voice and the shouted chorus “Oh, here we come” that begs for the listener to sing along with. The song is only 2:19, but it packs in a fast-paced urgency in it unlike any other track on the album. Very well-done, well-polished and well-produced. “Paint the town red with the blood of Jesus” was taken directly from a Reinhard Bonnke sermon the delirious boys heard. Musically, this is a blood-pumping number, but with good reason. It’s about righteous indignation; it’s a war cry. And you’ll likely play this one over and over. My only complaint is the length; 2:19 is stingy for a delirious song. 8/10
Take Off My Shoes – One of the best delirious songs ever. There is a full one-minute introduction where Stu G plays around with the e-bow, creating a haunting musical environment that leaves the listener enchanted and begging for more. The longest track on the album, it feels much shorter than it is, and you wish it would just go on forever and never end. The e-bow is more intense than when Stu used to use it in the Cutting Edge days, which is a definite plus. This song picks up where “All This Time” left off. It’s more talk of frailty, but advances into the Holy of Holies with the first verse talking about the rope wrapped around the priest being removed, the rope with bells attached. It used to be that if the bells stopped shaking, the other priests knew that that priest who had entered the
I’ll See You – Acoustic song. It is what “What a Friend I’ve Found” was to King of Fools. “I’ll See You” is much more emotional, though. It’s there’s a delirious song that would make you cry (and I don’t mean due to bad musicianship), it’s this one. It’s so beautiful and the subject is someone singing to a lost one in heaven, wondering what it will be like to meet them on the other side. Martin wrote this imagining what it will be like to see his unborn child who perished due to miscarriage. A haunting singer singing a prayer in Gaelic in the background creates an angelic mood. Martin yells some random “woohoo!’s” that summarize his anticipation of the unbelievable joy of being reunited with his lost child and seeing Jesus face to face. Tears turned into joy. The song is like a poem that is set to music. It feels very intimate, as if we’ve stumbled upon Martin having a private conversation with someone. 7/10
Is this the best delirious album to date? Hmm, that’s a matter of opinion. That’s the wrong question to ask, though. The right questions are the ones the album asks of us. Are we, in fact, “an army of God, who are ready to die”? In any case, musically, Mission Bell provides what we’ve come to love from delirious: something totally different from past offerings but with the trademark attitude and songwriting approach that could only be delirious. The guitars are punchier than ever, and there are more guitar solos on this album than any other delirious album I can think of. Yet is an album of extremes. The high-octane choruses are much louder and urgent. The softer moments are more frail than ever. Piano/keyboard is used a lot more than usual. I feel that, more than in previous works, each member of the band has made a viable and indispensable contribution to the sonic soundscapes represented in this 55 minutes of powerful melodies, ballads, anthems, rockers, and utterances. And another thing: you’ll need headphones to pick up all the subtleties of this brilliant album. Is it a “grower”? Nope. Even better, more than with past works, I pretty much loved every song from the first listen. Now is the time for us to shine. Now is the time.
USA Release date December 27.
Best Delirious? Fansite on the Web, including d:scussion forums
posted by Josh @ Wednesday, November 30, 2005
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