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‘Holding On For Life’ falls foul of these trappings. As a result, some of these tracks sound like five-second-stings written for adverts and trailers, stitched together into sequences resembling pop hits, rather than actual songs. We end up with as many chants as we do choruses. The explosion of the final chorus hits like a bona fide Cinderella moment, with golden sparks showering from the sky – one of many well executed pay offs which prove that her ambitions were never delusions.īut in her efforts to go massive for 16 tracks straight, Goulding often settles for simple. It’s creamy and huge, coupling the beautiful character of her voice with a pulsating production of melancholia and euphoria. ‘Love Me Like You Do’ – better known around the house as the song which accompanies all the Fifty Shades promos – is a case in point for what Goulding can do on a cinematic canvas. They’re big songs for big arenas, big audiences and big success.
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These songs couldn’t be more explicit in their mission to put her among our Beyonces and Taylor Swifts. Having laid all this groundwork over the last five years, Delirium is Goulding’s definitive leap for the upper reaches of pop stardom. A few short years later, singing at 2014’s Royal Variety Performance in a 600 square foot dress felt like the sort of thing she could do without a fuss.
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Moves like releasing Elton John’s ‘Your Song’ at Christmastime made her intentions clearer, while shimmering singles like ‘Lights’ helped her crack the States. Back in 2009, when she was opening for Passion Pit in the UK as an up and coming electro-acoustic songwriter, her hunger for ascendancy was already obvious. But do go in expecting a solid pop album.Ellie Goulding has never hidden her ambition to be a pop star of the highest magnitude. As I said at the beginning of my review, don't go in expecting another Halcyon. But the bonus tracks contain some of the highlights, like production from Kiwi indie pop god Joel Little (probably best known for Lorde's Pure Heroine album) on The Greatest and Paradise, and a fascinating, hypnotic job from Disclosure on Heal, easily one of my favorite songs to come out all year.
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With the standard edition having an intro and then 15 full tracks, I can understand why the deluxe might seem over the top. She's not begging for attention like Ariana Grande, or engaging in childish relationships that only give her that "same old love" like Selena Gomez. She's not "shaking off" haters or making up step-by-step processes to create the perfect happily ever after like Taylor Swift. Yet on the contrary, it's also incredibly mature compared to recent pop releases. "Lost and Found", which wouldn't have sounded out of place on her debut record Lights, is a prime example of this.
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But what it does have is a youthful energy and excitement for Ellie was too trapped in her depression to express on Halcyon.
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Delirium has none of that, save maybe album standouts "Holding on for Life", which could easily be seen as a little cousin to Halcyon's "My Blood", and similar production (but totally dissimilar themes) on the platonic love ballad "Army". Halcyon was a flood of emotions everywhere, with the gorgeous orchestration and depressing yet deep lyrics that rivaled Goulding's fellow countrywoman Florence Welch. I'm lucky I went into "Delirium" skeptical about its ability to top its predecessor "Halcyon", because if I had expected otherwise I might be I'm lucky I went into "Delirium" skeptical about its ability to top its predecessor "Halcyon", because if I had expected otherwise I might be giving it a very different review.