It seems like Ellie Goulding has been everywhere recently. Prior to the official release of her third album, “Delirium,” on November 6, Goulding dropped two of her own singles: “Love Me Like You Do” — which appeared in the major motion picture “50 Shades of Grey” — and the summer hit “On My Mind.” She was also featured on Major Lazer’s song “Powerful” off of his recent album, “Peace is the Mission.”
Listeners of Goulding’s new album may be disappointed, however, if they are expecting a sound similar to what’s found on “Lights” and “Halcyon.” This album is a clear departure from the others and, though it shows her increasing confidence as an artist, “Delirium” fails to deliver as a complete record.
Ahead of the album’s release, Goulding debuted two promotional singles, “Something in the Way You Move” and “Army.” The sound on her new album, despite being more confident than those on previous records, is largely the same throughout. This, combined with the early single releases, leaves little on “Delirium” seeming fresh. Additionally, the themes found on the album are similar to Goulding’s previous big hits: lust and weird metaphors for love and dancing.
Despite an ethereal and operatic “Intro” track, the album overall is focused on its rhythms. Different from previous efforts, the songs on “Delirium” are built around the beats and it seems like the lyrics are written to fit in with the rhythm rather than the other way around. In the album’s second track, “Aftertaste,” especially, the music is peppy and richly layered. The next track, “Keep on Dancin’,” is a transition into a set of songs with clear electronic influence. Here, Goulding’s voice has a silky quality and the song is reminiscent of a remixed version of the “Macarena.”
Arguably, two of the best tracks on the album come right in the middle of “Delirium.” “Around U” sounds like something out of the ’90s and a little bit teen pop-y, but the lyrics make this song more genuine than many of the others. She sings and recalls every teenage crush ever: “I just want to be around you. Is that too much to ask?”
In the second powerhouse of the album, “Codes,” Goulding brings back a rhythmic focus; but on this track, the contrast between that rhythm and the melody works well.
But as soon as you get comfortable, “Delirium” has the ability to make you a bit, well, delirious. The track “Holding On for Life” has a gospel influence and the piano is featured prominently in the melody. It could stand well on its own, but as part of this album, its inclusion makes little sense. Similar to this, Goulding creates her own style of pop, mixing it with R&B on “Don’t Need Nobody” and introducing a Latin theme in “We Can’t Move to This.” These tracks are a good listen, but they interrupt any semblance of cohesion.
The last songs, “Lost and Found,” “Devotion” and “Scream It Out” are a mix of styles: pop, electronic and rock. Despite this, they are arranged in such a way that the listener may be tricked into thinking they go together. Perhaps it is the narrative of confidence they seem to create when listened to together. More likely, however, it is because they remind the listener that on this album Goulding is going to do whatever she wants, whenever she wants to.