Music has been basically incorporated into Rhys Fulber's DNA...With hip parents, he was in the womb for a Led Zepplin concert and at age 6 they carried him along to a Kraftwerk show during their Autobahn era. Instruments were always in the house as well as weekend jam sessions where he would rest his head on the pillow inside the kick drum. After the luxury of growing up around his father's excellent record collection (influenced by the blues and psychadelia of the Dutch and German scene of the late 60s and early 70s - where they lived on and off) and starting to play drums and whatever else was lying around at an early age, the original Vancouver punk scene had profound impact. Music as a lifestyle, art and political statement.
The dawn of the eighties and the discovery of electronic music came next. Helped by the familiarity with Kraftwerk, and Pete Shelley's Homosapien album, Rhys embraced groups like OMD and later, through local innovators Skinny Puppy, the first wave of industrial culture - european electronic underground and experimental music.
Meeting Bill Leeb at a local alternative fashion store was the gateway to an exclusive record and tape collection and collaborations with a couple of synthesizers and a portastudio. Rhys' drum kit now pretty much replaced by a synthesizer and drum machine. Eventually joining Leeb's Front Line Assembly as a teenager, they gradually rose from cassette only releases, to european vinyl, to Melody Maker buzz act by 1990. Tours of europe and the US cemented Front Line Assembly's position in industrial dance, as a myriad of side projects spun off of down time from FLA.
The rise in profile began to create other opportunities. Remixes and eventually, production of more rock based groups, looking to add the modern flourishes of programming to their sound. Most notably was Fear Factory, and the underground metal classic Demanufacture.
As the industrial scene seemed to be burning out, a side project called Delerium began making somewhat accidental inroads to a more mainstream audience. An outlet for more ambient textures than those of FLA, the addition of female vocals to the soundscapes, struck a chord with record buyers. The best known of these being the Sarah McLachlan voiced Silence. Though released in 1997 on the Delerium album Karma, a progressive house remix two years later, took the global club scene by storm. Add a couple more remixes and it ended up on charts across europe (notably #3 in the UK) and produced gold and platinum sales in several countries.
By this point Rhys had left already FLA and Delerium, to open new chapters. After years of production work, the desire to compose new material returned. The Conjure One project is born.