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The first track, “Start,” touches on the challenge of grasping a new beginning despite persistent effort. Listeners see pieces of past struggles and what Goulding carries with her still. The album expresses confidence not in an intense, unapologetic way, but with a treasured delicacy. This thematic thread conveys the dynamic complexity of emotion, the very curiosity Goulding has grappled with, leading her to this record.
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Individual songs emanate their own meanings, but have titles of cohesive imagery: “How Deep Is Too Deep,” “Wine Drunk” and “Flux,” to name a few. The title itself gracefully alludes to the album’s fluid, intricate quality. She touches on the nuances of being in a good place - its shades of vulnerability, tints of breakthrough and everything in between. She is renewed and confident as ever, with each track on the record offering a glimpse of a radiant independence.īrightest Blue is her ascent from rock bottom, and in an admirably real sense. The album, set in two parts, is born from the deeply formative time she had with herself in the city. On July 17, however, Goulding resurfaced from her five-year hiatus with Brightest Blue. And so, the English singer-songwriter moved to New York City and away from the spotlight, which had taken a toll on her mental and emotional health.
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Imagine if The Weeknd made an entire album that sounded like “Can’t Feel My Face.” That’s the equivalent of Goulding’s “Delirium.After her third album Delirium released in 2015, Ellie Goulding decided it was time for a break. Up until this album I would not consider clumping Ellie Goulding in with Carly Rae Jepsen or Demi Lovato, and losing that differentiation is where the disappointment lies. It doesn’t feel authentically like Goulding and I’m not sure if it’s putting her in the right direction. Any of the songs could make it as radio hits and I’ll listen to some songs when I’m in the mood for shameless pop, but it’s not an album that will get Grammy nominations. Maybe because Goulding has so much potential, maybe because the popular music sphere lost the folk-y and EDM flares she brought to Top 40 or maybe just because I was hoping for some variation in an album this long (it runs for over an hour).ĭon’t get me wrong, “Delirium” is a good listen if you’re into the singles she’s been putting out lately (“Love Me Like You Do” and “On My Mind”). I made a conscious decision that I wanted it to be on another level.” In this way she does accomplish what she set out to do and, while it might not elevate Goulding to the top, “Delirium” is a spectacular pop album.īut I can’t help feeling a little disappointed. In a statement about the album she said: “A part of me views this as an experiment-to make a big pop album. Goulding did have a goal, and it was pop. With albums, I like to feel like there was a purpose, an artistic mission or a message to take away. There obviously are different rhythms and slight variations in instrumentation and theme (“Holding On For Life” has more piano and a jazzier feel than the march sounds in “Army”) but overall the album sounds the same. I would highlight different sounds on the album, but, honestly, hearing one song is like hearing them all. Her songs used to complement her one-of-a-kind voice, but this is not true on “Delirium.” Her voice can be part of her uniqueness, but in other ways her past distinctiveness is exactly why she shouldn’t fall into the pop formula. But no one who hears any song from this album will think it’s anyone but Ellie Goulding because of her distinctive icy vocals. In “Delirium,” Ellie Goulding’s third album, Goulding follows the pop formula very well: catchy vocals + emotional lyrics + heavy beat with dance breaks. Alex Clarke, Staff Reporter | November 13, 2015
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