DELIRIOUS are about as Old-School as your grandmother. Not that one who’s still kicking up dirt with a walker but the one who was approaching the dreaded century marker but croaked just shy of the double ‘0 and is now pushing daisies. This five-piece mixes a good bit of HEATHEN with an early TESTAMENT sound to produce this monstrosity of melodic Thrashing fury which will induce manic fits of neurosis.
If distilled to the single reason why this band slaughters so hard, one would discover the strength lies not in merely the aggression but, rather, in the diversity. We have ferocious up-tempo cuts like “Triple Six”, whose chorus simply reeks of KREATOR and then acoustic passages such as “My Friends” which mix to produce this beautiful creation akin to DEATH ANGEL’s “Act III”, only possessing a bit more balls and a plethora of greater riffage. This outspoken songwriting is bled by guitarists Andreas Supplie and Alexander Cwertnia who never fail to steamroll you with unrelenting axe-work. Riffs come out of nowhere demanding mandatory head-banging and simply lifting you into this esoteric realm of fuzzy nostalgia.
Curve-balls originate as early as the 3rd track when “Call Me God” splits skulls with a mix of clean and rough vocals. Markus ``Betty`` Bednarek hits us with an approach which is overtly influenced by Chuck Billy and rocks quite hard. There is, however, a fair bit of range as showcased by the aforementioned “Call Me God” and tracks such as the slow builder “Sleep In Peace”. This hints at and supplements the variation of the album, only further fueling the fire.
I am also quite shocked at the strength of the softer compositions. DELIRIOUS handles songwriting like a passionate lover, taking great care in crafting songs which build AND deliver. The two acoustic passages, “My Friends” and “The Sky Turns Red”, are both quite effective; the former only suffering a bit from repetitiveness in the chorus. “The Sky Turns Red”, however, is one of the strongest pieces on the record, inspiring brilliance through a somewhat simple riff which has this classic esoteric western feel.
“Made For The Violent Age” speaks eloquently and demands purchase in an age when the majority of music is anything but effectively violent. This is a delightfully retro album which mixes the old with a bit of originality and results in this fantastic group of songs which screams intensity through musical quip.
P.S. The “In A Gadda Da Vida” cover is solid but the strength of the original cuts of the album is the reason to buy. (Online April 26, 2006)