Exploring most of the same concepts as before, I found it hard to connect with most of her songs considering the EDM elements that have a frail build up leading into nothing much. While I feel that Eillie’s career had been going as much as people had expected, I feel that most fans don't really have much to complain when it came to the music deplored. While I’ve been sorting out my thoughts for the album, why not talk a little bit about Ellie Goulding as a whole? In tandem, Goulding did have some part to do with all of her songs bar the hugely popular track that is Love Me Like You Do, from the motion picture Fifty Shades of Grey. Roll around 2015 and we get Delirium, produced by Max Martin and Greg Kurstin just to name a few, both of whom made songwriting credits to most of the tracks. Still, it’s an enjoyable record for what it is, but my opinion hasn’t twisted all that much. In 2012, she released Halcyon, the follow-up to Lights, but some songs were either too busy being sharpened and others being left in the shed. And at its lowest, joyful enough to keep you moving.Ellie Goulding hasn’t really popped into my mind since a few tracks over the past few years other than an amazing break into the Billboard Hot 100 with Lights, which I thought was a great track. It’s a drunk-on-life LP that, at its highest point, is bursting with the ecstasy of complacency. Though serious at times, Delirium is nothing less than celebratory. And the best part is she didn’t sacrifice any bit of herself for it. She’s found a great love, and created an album earnest in its pop tendencies and bold with its honesty. The dust of whatever relationship that project was inspired by has settled. Sure, some might long for the grandiose verbiage of Halcyon, but Goulding doesn’t need metaphor to cope anymore. Its lyrics cut through the bullshit of figurative language and go straight for the truth. Later, in “Devotion,” she creates a hypnotic mix of higher-pitched vocals that dance around her grounded production in a cosmic way.ĭelirium is about self-discovery. Take “We Can’t Move To This,” one of the album’s biggest jams: Goulding stretches, shrinks, and layers her voice in ways that build a tight tension only to be released in a bombastic chorus. Her embrace of electronic music allows her to manipulate her vibrato into sounds normally reserved for synth boards. It’s Goulding’s unique vocals that challenge the influences each song pulls from: One thing that’s always set Ellie Goulding in a tier above her peers is how she uses her voice as both a vessel for a song’s narrative and an instrument. “Keep On Dancin’” toys with the same minimalist world as Madonna’s “Devil Pray” “On My Mind,” the album’s single, sounds a bit like a Calvin Harris song “Don’t Panic” in infused with the same '80s influence found in CHVRCHES outstanding sophomore album. In fact, if this collection of songs-a staggering 16 tracks, one of this year’s biggest-were sung by anyone else but Goulding, Delirium would sound like an album riding the coattails of pop trends that are losing their “it” factor.

On the contrary, it’s amplified to new heights and expanded across pounding, dance-floor-ready tunes. But her personality is not lost in the big-name producers’ work.

The sweeping orchestral elements of her sophomore album are traded for a pure pop production-a departure from the indie-electro fusion she got her start with. If Halcyon was Ellie Goulding’s breakup album, Delirium is her redemption one.

Delirium ellie goulding album songs