The 2001 Indie Dream Records eighth Deliverance album Assimilation dutifully draws upon the electronic and industrial metal segments, where it excels. It’s relatively (and surprisingly) capable in this regard, as found in its joining of metal and hard rock guitar signatures with the decided keyboard and electronic heavy production innate to either form. Founding member and guitarist/lead vocalist Jimmy P. Brown II provides additional detail in an interview back in the day when offering his thoughts in regards to Assimilation:
“There is going to be a definite electronic influence (on the album) but I think to call it industrial is overstating. It's heavy organic groove with industrial or electronic layers.”1
Further helping Deliverance achieve this end is the manner in which Browns brings a felicitous - for the genre at hand - doom-laden and melancholic (almost baritone) style that has received comparison to a combining of Eric Clayton (Saviour Machine) and David Bowie.
It bears repeating the musical transformation made by Deliverance through the years, with its iconic early material to include the melodic speed metal of its self-titled debut (1989) and sophomore effort Weapons Of Our Warfare (1990). As the nineties progressed, so did Deliverance in unveiling the ‘technical metal’ of Stay Of Execution (1992) and Learn (1993) in addition to more progressive sounds to River Disturbance (1994) and Camelot In Smithereens (1995). Assimilation, obviously, follows on the heels of extended hiatus by the group, a time in which Brown began to experiment with the electronic inclining to his Fearful Symmetry side project. It would not be out of line to suggest that Assimilation - to find Brown joined by long-term Deliverance bassist Manny Morales and newcomer keyboardist David Gilbreath - arose from the direct influence of this period, albeit treading much heavier musical territory.
With the Indie Dream Records version out of print and hard to find, Assimilation was re-issued by Retroactive Records in 2007 with altered cover art and a second disc exclusive to demo instrumental versions to each of the albums 10 tracks and four others with vocals. Fast forward to 2019 and Assimilation is re-issued a second time (again Retroactive) with the revamped cover art but as a single disc release instead with the original 10 songs.
Opener “The Limitless Light” leaves little doubt as to the Assimilation industrial and electronic nuances. It fades in to keyboards prior to crunch heavy guitars and a resounding low end cutting in, with the gist brimming of the upbeat but also a decided metal basis to find an unswerving demeanor holding sway. Of note is how distorted industrial style vocal effects adorn the equally emphatic refrain. Lyric snippet:
The air carries the mystery of You
The answers I didn't find in the pews
Through Your name, I found redemptive plan
The holiness forms the body of man
Come take me to where You dwell
Even through the fires of hell
I know You will...
“From The Beginning” hits even harder with its aggressive riff tinctures, which curtly bound in and out of the mix, but also does not forsake melody, as impetus smoothes for the melancholic but catchy refrain. Low-end affects of the vigorous as well, revealed from how Morales lays the cogent foundation with his unwavering bass penchant. Lyric snippet:
Do we want our eyes again to see?
Why is it in these chains I feel free?
My tears are falling like rain from the sky
Let no strain come nigh
Beguiled by the snake, man lost his sight
There was no one left to blame
The veil was raised and the cord now severed
Albums title track slows tempo and further elevates heaviness. It finds Brown putting on display his tight rhythm guitar riff and chops accordingly, with eerie industrial style synthesizers allowing a contrasting soothing effect. Rhythm guitar also carries the instrumental moments. Lyric snippet:
Assimilate, formulate, resurface the corrupt
Assimilate, penetrate, give the drive new air to breathe
Live online, the pathway lay so clear
Avoid the virus that breaks the firewall from the rear
Searching near and far for more of like kind
Of transformation and renewal of the mind
“The Circle” ups tempo in better allowing those electronic to industrial aspects to rise to the surface, noting how Gilbreath accents without distracting or overriding in terms of his adept keyboard work. The song otherwise preserves the Assimilation predisposition for biting guitars and catchy hooks of an understated quality. Lyric snippet:
How much does it take for a man to feel rich?
Is a bag of silver enough to be betrayed with a kiss?
The wandering fool searches for his pot of gold
He doesn’t know what is bid upon has already been sold
Lifts his eyes to the skies once again
The question of life and what has God done for him
“Sell Your Soul” takes things in a more varied direction. With bass solo to start, the song maneuvers forward in drifting through ethereal moments to find guitars drop from the mix and others powerful in which guitars recoil thick and firm. Such contrasting distinctions lend a light (and flattering) progressive edge. Lyric snippet:
The mind and the thoughts of this world have raped your heart
You don’t have to sell your soul
And give up all that you’ll be
Better to die awake then to live asleep
Take His hand and feel pain no more
Be who you will be, even living among the thorns
I also appreciate the diversity to “The Search”. The song compels through its verse sections as Morales’ pulsating bass shifts between Brown’s dogged riff-action, with the acute setting subtly evening out as keyboards flow in to shoulder the curtly resonating refrain. A joining of the hard charging but soothing is the feel in question. Lyric snippet:
Take me to the reaches of the mind
Let my eyes again see
The never lands pave the search
To destruction or creation
Idealistic formulas, truth or temptation
Is it all just complications?
Rating with the albums heaviest is “The Learned Man” in light of its browbeating guitars to make a pronounced metal statement. No, Assimilation by no means compares to the groups earlier thrash efforts but could potentially be labeled its most guitar furrowed since, or at the very least rates alongside Stay Of Execution and Learn in such capacity. Similar to “The Limitless Light”, distorted vocal effects imbue the refrain, a particular I find quite flattering. Lyric snippet:
To master the deception and sink further into the river
Life is yours, your quest was always here
To catch a glimpse of the Saviour
Through this multi-coloured smear
Wipe away the tears…
You are the learned man… you are
“Between 2 Worlds” also hits hard but within the faster and more spirited context. Helping lend the electronic effect are bubbling keyboards to resonate throughout in addition to a Gothic influence, noting Brown’s lower impressionable vocal touch to help the songs immediate melody stand out that much further. Lyric snippet:
Split my brain, how could this be?
The central theme of life brought by this seed
Let me see cerulean skies, chase the rain
The tale of sinful thought ride the course of the bane
Raise the bar once again, challenge my soul
The limitless light ignites the coals
“Impressions” separates as my favorite of the Assimilation material, the least of not which being the robotic interplay between guitars and keyboards to reveal uncharacteristic stilly done moments between the two. Further putting it over the top is the exhilarating stretch of soloing from guest guitarist Justin Detie, whom I wish had made more of a mark throughout the album (its lack of guitar soloing is one of the few critiques I have of Assimilation). Lyric snippet:
Can I love my neighbor as myself?
The cry to Adonai as always to change me
Don’t let my stare become a fearful glare
When I see their humanity, will it change the scenery?
Or does the prejudicial eye leave none to tell?
Can I love my neighbor???
“Save Me From…” ends the album on a fitting high note. This one draws in with its distinct harmonizing, guitar melodies are of the sophisticated kind, but entices equally with its echoing vocal melodies, which help allow a reassuring effect. I enjoy how the song closes its final seconds to guitar feedback. Lyric snippet:
I hear the rainfall, see it through my eyes
Cleave to the truth, let go of the lies
My will to be, I will be, centered Messiah ahead of me
To live to breathe, sacrifice myself
Save me from myself, touch me, make me, love me
Production shines from how it emphasizes a mega-crunch guitar sound and equal parts distinct bass but also allowing keyboards to underline but not to a fault. Lone constructive commentary is that drums could have delivered a bit more punch in the mix.
I appreciate Assimilation as the most musically consistent Deliverance album since the critically acclaimed Learn. No skip buttons throughout ten equally good tracks not to mention strong performances from Brown, Morales and Gilbreath help it to inspire further. In revisiting the Deliverance legacy, I find it interesting how the group morphed from thrash to industrial/electronic hard rock and back to thrash again, referencing last years ‘old school’ comeback album The Subversive Kind. As a fan of all era’s of the ‘Big D’s’ history, I have no problem accepting the Assimilation musical direction, although I understand how devotees to the early material might have misgivings. That said, am I out of line to suggest it might have been better received if released as a Jimmy P. Brown solo album or under the heading of a different project instead? Still, if as a Deliverance fan, you missed Assimilation back in the day or enjoy any of the musical styles presented, then you are encouraged to get the Retroactive re-issue before it goes out of print.
Review by Andrew Rockwell
Track Listing: "The Limitless Light" (3:24), "From The Beginning" (3:05), "Assimilation" (5:20), "The Circle" (4:27), "Sell Your Soul" (4:33), "The Search" (4:02), "The Learned Man" (4:14), "Between 2 Worlds" (3:35), "Impressions" (3:21), "Save Me From…" (4:09)
Musicians
Jimmy P. Brown II - Lead Vocals, Guitars & Keyboards
Manny Morales - Bass
David Gilbreath - Keyboards & Programming
Guest Musicians
Jim Calvert - Drums
Justin DeTie - Guitars
Endnotes
1. “Deliverance Interview,”, ArtForThe Ears: http://artfortheears.freeservers.com/index2/interviews/deliverance/deliverance.htm
