The blueprint for success for the entirety of Delirium is, rightly so, “Love Me Like You Do,” her hit single from the Fifty Shades of Grey soundtrack. As a musical choice, there’s nothing wrong with a good snare sound, but it’s not an exaggeration to say that half of the tracks on Delirium blend into each other as a result of this standard set of sounds. There’s gated drum reverb everywhere, and Goulding is left belting to be heard over all the snares. ![]() But what’s striking is the sheer omnipresence of the default standard-bearer of Goulding’s big pop sound: Gated reverb. All 16 tracks (on Delirium‘s standard release alone) could have plenty of radio play. Nothing here sounds particularly different from Goulding’s previous releases, Lights and Halcyon, which increasingly glossed up her EDM origins and shed her more interesting folksy leanings. Delirium may not live up to Goulding’s hopes, but it is unquestionably a “big pop album.” Despite the ubiquity of ‘80s-infused big pop already on the charts today, this sort of leap is still being labeled as “experimentation.” Considering the current musical climate, it’s no surprise that Ellie Goulding described her third album Delirium as “an experiment-to make a big pop album…I wanted it to be on another level.” What is surprising, however, is Goulding’s impression of her previous output, which certainly falls under the pop category. “Going pop” is a common change of pace for artists these days.
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