![]() ![]() ![]() “It can be describing a really happy, crazy state, or it can be the complete opposite. Never once overshadowing the vocals, which without the overbearing club beats, soar, it's moments like this which make Delirium feel both like Goulding's most complex record to date, but paradoxically the poppiest too. ![]() "Army" for instance, is a prime example of her ability to combine instantly relatable emotions with understated yet rousing production. As always however, it's Goulding's vocal range and lyricism which make the stand out moments come off as nothing short of pop perfection. But just as often, the fraught emotion of Goulding's lyricism feels at odds with the chart-aimed electronica of the choruses of tracks like "Something In The Way You Move". When this dichotomy works, it works brilliantly and the record shines, such as on the exquisite "Don't Panic" or triumphant opener "Aftertaste". Then there's her darker side a far cry from the pop glitz it counterbalances, these heavier, temperamental moments provide a perfect milieu for Goulding's familiar intimacy and insecurity to manifest, whilst making for the more memorable tracks on offer. There's the stadium-sized choruses and electronic pop sensibility – the side of her that appears to take number one albums and sold out tours in her stride. Much like on the two records that precede it, there's a duality within Goulding at play here. It also highlights what is arguably the single issue Delirium as a whole suffers from. "Keep On Dancin''' for instance, throbs with a dark, tribal-like atmosphere built around understated bass, off-kilter rhythms and Goulding's impressive vocal range, it's an early highlight and one which makes following track, the ironically forgettable lead single "On My Mind", seem more sub-standard than it is. That doesn't mean to say Goulding has lost her independent fire entirely. Either way, the raw emotion it harbours, coupled with its almost-mercurial production made for a pop album with bite, something both 2012's Halcyon and latest album Delirium forgo in favour of more commercially-driven compositions. ![]() Perhaps it was something to do with the guitar-based beginnings of the album's material, or the fact Goulding was barely out of her teens when it was written. ![]()
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