In some regards, the album is an experiment: she has enough on the album that there is something for everyone she got lucky in that so many of the tracks hit the bullseye. ith Taylor Swift having dominated the charts all year, Adele primed to rule the top 10 all next year and Rihanna reportedly waiting in the wings with new music, Ellie Goulding will have to. Goulding has called Delirium an "experiment" in interviews leading up to the release of the album. In the intro of second single Army, and the chorus of the retro standout Devotion, she establishes herself with her audience that she understands her place in Pop music, and that she brings something new to the table with a unique sonic palette. While the album is factory pressed with singles ready to launch on to Top 40 radios with ease, there is something strictly Goulding about much of the album, especially the latter half: While Swift's comparable aforementioned work relied on the strength of drums and synths, Goulding sneaks in the sound that made her a star: a twinkling acoustic guitar. This is perhaps Delirium's biggest fault, that it lacks lyrical and sonic beauty that can be found on Goulding's prior works. Midtempo power ballads like the mega-hit Love Me Like You Do and Army offer some release - and standout amongst an album of bangers - but don't offer enough to quench the hunger for ballads like Halcyon Days' I Know You Care and How Long Will I Love You. She glides across slinky grooves with the precision of an Olympic skater on tracks like On My Mind, Keep on. Her third studio album is a roaring testament of spirit. Delirium is confirmation that those dreams are coming true. While most artists would struggle to keep up with this pace, Goulding does so with the expertise of a near-pro, only stumbling on the forgettable and rather lifeless We Can't Move to This and Holding on For Life. I’ve got big dreams, baby, Ellie Goulding chants on Don’t Panic. From the moment Aftertaste hits its stride, the audience is locked in for a roller coaster ride of strict tempos. The main difference between Delirium and previous pure-pop offerings this past year from Carly Rae Jepsen and Taylor Swift, is that there is there is no breathing room.
The result is an album that to its modern audience will scream Taylor Swift's "1989," while to it's broader and older audience, it will sound completely millennial. With "Delirium," the difference is not apparent at all, Delirium is blatant Electro-Pop.įrom the swirling guitars of On My Mind, to the Urban tinged Don't Need Nobody, Delirium delivers mid and up-tempos track after track, never stopping for a ballad like her previous albums have (the last half of "Halcyon" or The Writer on "Lights"). When people listen to UK songstress Ellie Goulding, people are generally divided on what they hear: they either hear her folk and indie influences as her sonic center and others hear her Electronica roots, and push her into the larger category of Pop.
0 kommentar(er)
