I hardly ever enjoy a song on first listen. Quite often, it helps to hear songs in different settings when deciding the likeability of the album as a whole. Listen while sitting down and actually concentrating on the lyrics with a pair of quality headphones, as well as in passing to really get the overall feel of the album ingrained into your long-term memory.
Unfortunately, when it comes to my primary judgments of Ellie Goulding’s third studio album, “Delirium,” both of these strategies did not alter my original opinion.
It’s not unusual for artists to grow through life experiences and correspondingly rebrand their image and sound along the way. However, “Delirium” undercuts all of Ellie’s previous work, as her unique voice is overpowered by the persistent pounding of dance-like beats.
More and more artists are looking to incorporate the style of EDM (electronic dance music) and, in turn, look to powerful DJs in order to attract the younger generation of festivalgoers. For this particular album, Goulding was unable to conquer the genre without the collaboration of big names like Diplo (Justin Bieber’s “Where Are Ü Now”) or Zedd (Selena Gomez’s “I Want You to Know”.)
Goulding is trying to step away from her indie music origins and identify as a pop powerhouse, unbeknownst to me, because her vocal style is much better than mainstream pop music.
Goulding’s singles such as “Burn,” “Beating Heart” and “I Need Your Love” have proven that songs outside her normal, honest and ethereal sound are still fitting, without losing the novelty.
The track “Outside” – which is only featured on the deluxe version of “Delirium” – incorporates highly synthesized beats, but it was produced with Calvin Harris. This only furthers my argument that the catchiness and success of a song outside her realm requires the expertise of an alternate source.
If the songs on “Delirium” were played in a club, they would certainly inspire listeners to put their dancing shoes on, but they do not contain memorable lyrics or an appealing enough beat to have listeners actively want to search for any of the songs in particular.
The album is very much a mish-mash of similar sounding rhythms, despite the singles that have already been released and proven to be successful as standouts (i.e. “On My Mind” and “Love Me Like You Do”). Unfortunately, these songs carry the album, because although it is seamlessly produced, it’s almost too much so, to the point where the songs start to become meticulous.
Her sophomore album “Halcyon” managed to be both intimate and intense, sensual and upbeat, complex and well-defined, which kept the listener wanting more. “Delirium” pushes the listener’s patience with 22 bland songs peaking at a little over an hour.
“I Do What I Love” is very in your face and sounds like a strange attempt at rapping. It leaves listeners confused and slightly violated, once again abandoning all of the characteristics that originally allowed the world to come to love Goulding.
The album artwork, featuring a fierce Goulding, as well as the title of the album, is not an accurate representation of the creation as a whole and certainly does not produce the type of euphoria that the album name promised, and her stance suggested.
Although it is not bad by any means, Goulding is more talented than what this album imparts on first-time listeners of her work, and it is a far cry from the groundbreaking piece I expected from an artist as special as her. Hopefully Goulding will view this album as an instance of trial and error, and it simply becomes a blip on her radar as she pursues future endeavors.
