Sometimes, people stumble upon a new artist that they immediately like randomly. It could be through a song that plays on the radio, a scroll through iTunes to look at the New Artists section (or Single of the Week, back in the day), or an ad that pops up on YouTube or on TV. No matter the case, anything can happen, and it allows people to acquire a new favorite singer or group.
My brother first stumbled upon Ellie Goulding on a random trip through the UK Amazon to see new Rainbow Magic books (we were very weird children). I immediately found her pretty (I had a blonde obsession as a child; again, I was weird) and I was interested in listening to her. I took the first step in searching up her music, found "Lights" in April 2011, and was immediately hooked. That song stuck in my memory for a while, and when it began to grace mainstream radio airwaves in early 2012, I was surprised. At the time, Goulding gaining success here in the US boggled my mind, but now, three years later, we have her third album, Delirium, and the successes of "Lights", "Anything Could Happen", "Burn", and the surprise hit in "Love Me Like You Do."
When this new album was announced, I became really excited, and the first single "On My Mind" was great. However, I felt it lacked some of Goulding's identity on the first couple of listens. Since those first listens, the song has grown on me massively, and with every pre-order single that came out, my hopes grew and grew.
Plus, Goulding herself stated that she wanted to take this record in a grandiose pop direction, and judging from all of the songs that came out before hand, she had succeeded that goal. But would a full length album deliver? And would I enjoy it as much as I had enjoyed Lights, Halcyon, and Halcyon Days?
My brother first stumbled upon Ellie Goulding on a random trip through the UK Amazon to see new Rainbow Magic books (we were very weird children). I immediately found her pretty (I had a blonde obsession as a child; again, I was weird) and I was interested in listening to her. I took the first step in searching up her music, found "Lights" in April 2011, and was immediately hooked. That song stuck in my memory for a while, and when it began to grace mainstream radio airwaves in early 2012, I was surprised. At the time, Goulding gaining success here in the US boggled my mind, but now, three years later, we have her third album, Delirium, and the successes of "Lights", "Anything Could Happen", "Burn", and the surprise hit in "Love Me Like You Do."
When this new album was announced, I became really excited, and the first single "On My Mind" was great. However, I felt it lacked some of Goulding's identity on the first couple of listens. Since those first listens, the song has grown on me massively, and with every pre-order single that came out, my hopes grew and grew.
Plus, Goulding herself stated that she wanted to take this record in a grandiose pop direction, and judging from all of the songs that came out before hand, she had succeeded that goal. But would a full length album deliver? And would I enjoy it as much as I had enjoyed Lights, Halcyon, and Halcyon Days?
Some critics have argued that Delirium is Goulding's weakest album because she has either "sold out" or "crafted non-unique pop hits that could easily be suitable for any artist". I want to say that in my opinion, Goulding hasn't given up her soul or decided to scrap off her identity to become the stereotypical pop princess. Delirium is still purely Goulding, from her signature vocal delivery to her songwriting and even to the sound of these tracks: this is still her doing what she always does like she's a fairy with magical powers gifted to her by Queen Titania (Rainbow Magic reference!).
And boy, Goulding has easily delivered one of my favorite albums of this year. Delirium gleams like a silver disco ball twirling around a dance floor, and the energy of these tracks is propulsive and will definitely make everyone get up and bust a move.
Also, this third album from Ellie Goulding has a variety of songs, from fun headbangers to ones that slink across the tiles. Goulding easily bounces from song to song with the confidence of a sly fox, and it amazes me just how mature this record is and how much she's progressed over the course of her career. When the final track faded out, I wanted to experience the roller coaster ride all over again, but I also felt satisfied. I don't think we've seen all the places Ellie can go, and Delirium looks like the starting point to a new era for her.
Delirium mostly focuses on the delirious state of being in love or in having a good time living it up. Although the emotional and stormy ballads of Halcyon are great, you're not going to find them here. All of the songs are predominantly upbeat and much happier than Halcyon, as this record has a different mood. It has much more in common with Halcyon Days (the re-issue of Halcyon) than the 2012 album. To really see what I mean, let's go track by track.
"Intro (Delirium)", according to Goulding, serves as the official closing chapter to Halcyon, and it's definitely showcased through the use of haunting vocals and dramatic tension that gave her ballads on her previous album that punch. It also recalls the Divergent score, which Goulding provided vocals for, although the pounding rhythm provided by the drums on those songs is not present here. However, her ethereal voice and the grandeur of the track perfectly stands on its own, and as the light percussion fades accompanied with back and forth buzzes of an instrument, the song instantly fades into "Aftertaste".
"Aftertaste" gives us the first real taste of Delirium, and if we're looking for the perfect introduction, this would be it. With a cacophonous, driving beat complete with energetic drums, keys, and some bass and guitar courtesy of Greg Kurstin, Ellie Goulding describes a relationship that only meets in fleeting moments. Every time her lover leaves, she only has the memories or the aftertaste of them to remember, and she'll keep it lingering in her subconscious until the two meet again. This song seamlessly sets up the opulent tone of this album, and it's incredibly catchy with the tribal influence the background chorus gives and with the hammering drums. Despite the robotic filter that's put on some of Goulding's vocals in the background, she sounds gorgeous here (like always), and this carries throughout the course of the album (in other words, her vocals across this album are great). "Aftertaste" is really a fun start to the Delirium chapter, and although the lyrics are somewhat melancholic, it's wrapped up in a glittery wrapping paper that's hard to cry at.
"Something in the Way You Move", the first promotional single from the album, is up next. If you're looking for a song that literally fits the disco ball comparison I gave this record, this would be the evidence you would need. This track literally glitters from start to finish thanks to the keyboard line provided by Greg Kurstin (who will be popping up more on this album, trust me), and this song also deals with love in a similar way to "Aftertaste". Here, Goulding keeps on hooking up with this guy who doesn't seem to like her, but she continues to come back time and time again, blaming it on 'something in the way [he] move[s]'. Again, the lyrics are very melancholic, but the song itself is very sleek and definitely makes me wanna party. I can't help but dance as this song starts, even if I end up smiling sadly. This track lifts my spirits up, and I really think that's all it needs to do. Plus, this song reminded me a lot of Carly Rae Jepsen's latest record (you can read my review of that here), which I found to be fun.
The next song is one produced by Ryan Tedder and Noel Zancanella, "Keep On Dancin'". Right away, this track proves to be very different from the others. The instrumental is darker and sexier, recalling on elements from trance to achieve a different sound. At first, the buzzing at the beginning might ring odd to some listeners, but by the end of the song, I didn't mind it. The rest of the instrumental works really well, especially in the chorus, where the whistle sample used in other parts of the track and a line of popping keys take center stage. Goulding's vocals also sound different, becoming much more subtle and sly as she sings lyrics about how she keeps on dancing no matter what's going on in her life. It's fun and refreshing, and definitely a different turn from the love songs. I do wish the instrumental had a little variety, but other than that, this was a nice surprise.
The first single off Delirium, "On My Mind", is up next. This song has been viewed as the successor to a song from Ed Sheeran called "Don't", which basically described the supposed turbulent relationship between Sheeran and Goulding (it might have all been rumors, but I don't know). This song shares similarities to "Don't" with its depiction of both characters as flawed, as the male takes things too seriously and the girl does the opposite. However, after everything's been said and done, Goulding still can't get the guy out of her mind, even though she should. It's a human and honest portrayal of the aftermath of a relationship, and the production is also really fun. Thanks to Max Martin and Ilya, two incredibly famous Swedish producers that have been around since Britney Spears broke onto the mainstream, the funky beat simmers with guitar and bass and the percussion adds a lot of pop. When the chorus hits, the instrumental explodes and creates a rollicking vibe perfect for a party. It makes perfect sense why this was chosen as the first single, and I really hope the other singles do this album justice.
"Around U" is the sixth track on the album, and it reminds me a lot of the Spice Girls for some reason. The song has the sticky consistency of cotton candy and will definitely get into your head if you're not careful. Also, Ellie Goulding uses a much more girly tone when she sings here, creating the kind of pop song that sounds like it came out of the 90's. In "Around U", Goulding plays the role of a delirious girl in love with a guy, and all she needs in order to be content is to stick around him. It's a fairly simple song that has great songwriting courtesy of Goulding herself, Joe Janiak, Fred, and Tristan Landymore. This song is the next Greg Kurstin produced track under arrangement of Fred Gibson, and the trademarks of Kurstin's production are all here: glimmering keys, syncopated percussion, and a flare for extravagance, although a little sweetness has been added to make things really pop. Overall, "Around U" is a hit, and I think that a music video inspired by the Spice Girls would be really cool for this track.
"Codes", up next, could easily be a single from Delrium in the near future. It's a fun, sassy song that shares some elements from "On My Mind" (hey, same producers!), but there's a much different topic to be found in this song. Goulding is sick and tired of a relationship where her lover isn't being clear, causing her to over-analyze everything he does. She just wishes things were simpler, and if her partner would cooperate, she would be grateful. Sometimes relationships can be frustrating, and I think that was Goulding's intention: love is something straightforward, and it shouldn't be hidden behind mixed messages. The instrumental also makes use of a refined and graceful beat complete with a nice key melody and percussion that adds a thundering undercurrent to the song. It's definitely something that would be played in a club full blast, and I really hope this becomes a single. It would be seriously awesome.
The halfway point of the album is the track "Holding On for Life", a song practically racing like a manic heartbeat. Here, a relationship is dangling on the edge of a thread, holding on for dear life and trying to survive, even as everything crumbles apart. Everything here has a gospel touch to it, from the background choir that opens up the song, the piano and keyboards adding to the dramatic stakes, and even in Goulding's haunting vocals. It's a really pretty song that has an unexpected frenzy to it, and as the song fades away with the last lyric 'Say we'll never die', you're left wondering if the relationship can ever be the glorious thing it once was.
Let's take a break from talking about Delirium to discuss Fifty Shades of Grey. I was never expecting songs from the movie's soundtrack to hit the radio, but we had two songs from that compilation make it big on the charts: The Weeknd's atrocious and kind of gross "Earned It" and this song (guess which one I like better). Coincidentally, due to the success of "Earned It", The Weeknd included it on his latest record, and that's why "Love Me Like You Do" is featured on this album (because these songs made it rain).
Anyways, back to the review. This track is the only one not to be written by Ellie Goulding on the album (apparently it was intended for Demi Lovato, but if you're interested, Tove Lo is a co-writer, so she probably could've done this too). Surprisingly, the song went to Goulding, and it started the multiple collaborations with Max Martin, Ilya, Ali Payami, and other Swedish producers. Personally, I'm a fan of this song. Goulding's vocals have this sweet delicacy to them that really matches the lyrics, which describe the exhilaration of being completely infatuated with someone. The instrumental plays up the dramatic feelings of the song with explosive percussion that almost drowns out our leading lady's vocals, which would be a bad thing if not for the feeling the song is trying to invoke. There's also a string section that's added in the final chorus that really adds to the track, as most of it is a keyboard line and drums. I can completely understand why this track was included on Delirium: it fits the main themes of the album perfectly. It may be annoying to see this pop up, but it's a great song, so I can't complain.
Next up is easily one of my favorites on this record, "Don't Need Nobody". This song is easily the sexiest on the album, what with its mischievous tone, snaps, and the keyboard line reminding me of one of the pulsing beasts that could be found on a Tove Lo track (hey, The Struts produced most of Tove Lo's Queen of the Clouds record, so it makes sense). It also reminds me of an anime character that I've been obsessed with lately....
Okay, putting my obsession of Ban aside (JK #BanisBae), this song focuses on someone who has been with multiple lovers before, but she's never felt a connection to anyone like with her current partner. Basically, she doesn't need anybody else to make her happy, and she'll be fine if she spends time with this guy. However, I'm left to wonder if the guy really likes her, as lyrics like 'But I was hoping you'd see me a different way' and 'Can't feel your heartbeat when I'm lying on your chest' suggest this love isn't reciprocal.
Goulding's singing on this song has a saunter to it that perfectly matches the beat, but much of her tone has a tarnished yet still sweet beauty that's part of it. It adds to the hopeless style of the song, and one can only hope that maybe things will work out between the two love interests. I also really like the instrumental of this track, as it has a lot of fire that you really don't see on any other tracks on the record. The churning of the keyboard line, the trap-like snap of the percussion, and the layering of the background vocals provide a nice foundation for the song to support itself, and it really adds a nice grandeur to the track you won't see elsewhere. "Don't Need Nobody" is definitely a standout from Delirium, and I'm left to wonder if it could become a single.
"Don't Panic" is another highlight from the album, and it's definitely for good reason. Much like "Don't Need Nobody", Goulding's vocals confidently saunter on this track, and there's much more happiness to be found on this track like "Love Me Like You Do" and "Around U" than others. The track deals with the inevitable things that happen in life, but how we need to keep it simple, love each other, and not panic about what's going on around us. It's a nice sentiment, and the song makes perfect use of that with the lyrics. "Don't Panic" is definitely smartly written, with lyrics like 'When love's not playing out like the movies, doesn't mean it's falling apart' and 'Been shattered before, everything breaks', and it's almost unapologetic in its honest presentation. The instrumental is also super snazzy, complete with xylophone-styled keys and a drum line that doesn't completely overtake the rest of the song.
The 12th song on the album, "We Can't Move to This", is the third favorite in a row of mine, but it's also a unique case: it juxtaposes lines from a song released by an R&B group 112, who had also used parts of a different song in their own track. Goulding uses that inspiration to create a track that compares a deteriorating relationship to dancing with a bad partner. Although I wish the chorus would put her vocals in the foreground instead of these oddly pitched ones, the song itself is still pretty awesome, as it makes use of bubbly synths, great songwriting, and a colossal groove that will have you up and dancing in no time. The producer of this track, who also worked on "Around U", gives this track a keyboard line that reminds me of tubas, which I found pretty interesting.
"Army", the final promotional single, is the sweetest song on Delirium, as it's dedicated to Ellie Goulding's best friend. Whenever her BFF's with her, Goulding feels as if she's standing with an army that will provide her support whenever she's down, no matter the circumstances. It paints Goulding at her most vulnerable, but it also showcases how much her friend means to her. There's a nice acoustic guitar here in the song courtesy of Ali Payami, but there's also explosive drums that make this song into a battle cry by the time we get to the second chorus.This song will definitely be the anthem for so many friendships out there, and it's also refreshing to see a song not about a relationship for once. Rumors are that this might be the next single, but we've had no word yet, so we're gonna have to wait and see.
"Lost and Found" is the next track, one that instantly recalls Lights for me. An acoustic guitar is a lot more prominent in this song than the others on the album, and Goulding's vocals take on the ethereal quality that made me obsessed with her. On this track, Goulding talks about both a relationship and the love she has for her hometown. Her lover is always waiting for her no matter where she goes, and even if she gets caught up in the business of her life, he'll still be anticipating her arrival back home. The thing that I love about this song is that it feels refreshing and organic, and although this album's dance songs are great, it's nice to have one that takes a step back and allows you to close your eyes and picture this city love. The production by Carl Falk and Max Martin gives plenty of room for Goulding's vocals to breathe, and it's just a super fun song that doesn't try to push itself in any radical direction. It's a nice and satisfying middle ground, one that every album needs.
We're two songs away from the end of the record, but now it's time to talk about perhaps my favorite song from the record, "Devotion". "Devotion" is a purebred EDM song with a lot of flavor that reminds me a lot of Britney Spears's 2004 hit "Toxic", and it packs a pretty hefty punch with a synth and keyboard line that skitters across the track like a manic butterfly. This song's main romantic focus is the feeling of complete devotion for one person, and how having that help and trust in each other can benefit both parties. Goulding's vocals are potent here as they're done in an almost sultry style, but you can also tell that the dedication to her lover is clearly there as she says lines like 'Whenever you break, I'll fix it for you'. Klas Ahlund and Ali Payami provide a killer instrumental that ricochets and bounces off the imaginary walls of an idealized club, and it proves that if Goulding wanted to completely pursue electronic music, she could easily pull it off. Just look at her collaborations with Calvin Harris and Seven Lions as evidence!
Lastly, we have the closer, "Scream It Out", co-written with Jim Eliot (who worked with Goulding on Halcyon and has also worked with Foxes on two songs from her upcoming album, squee!) and produced by Greg Kurstin. If "Army" was the battle cry, this is the song that would win the war. Goulding sings about how sometimes you need to let loose and not be okay, and to fall back on the ones that love you the most. Her voice ranges from a soft whisper to a yell as she reaches the chorus (although that might be provided by the choir), and this song definitely showcases her skills as a performer. The instrumental is also rich with piano, percussion, and even a strings arrangement, and it soars throughout the song like it has its own pair of wings. You almost wish you could fly away with it by the time the final chorus starts. It's sad when this track fades out and there's nothing left of the album to enjoy, but there's nothing like replaying the album if your spirits are down.
Ellie Goulding's Delirium is a sugary album full of dance-pop confections, great songwriting, and enough star power to knock you off your feet and send you flying to a rainbow-colored mirage. It not only shows that Ellie Goulding has some real staying power, but that she is carving out her own place in the music industry, and that means something. Delirium is available from Cherrytree and Interscope Records in both physical and digital formats. You can also stream the album on Spotify if you want to.
With that, I leave you. Until next time!
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