Album info

Album-Release:
2016

HRA-Release:
26.05.2016

Label: Polydor

Genre: Pop

Subgenre:

Album including Album cover

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  • 1Intro (Delirium)01:54
  • 2Aftertaste03:46
  • 3Something In The Way You Move03:47
  • 4Keep On Dancin'03:46
  • 5On My Mind03:33
  • 6Around U03:18
  • 7Codes03:16
  • 8Holding On For Life04:15
  • 9Love Me Like You Do04:13
  • 10Don't Need Nobody03:34
  • 11Don't Panic03:16
  • 12We Can't Move To This03:28
  • 13Army03:57
  • 14Lost And Found03:37
  • 15Devotion03:47
  • 16Scream It Out03:10
  • 17The Greatest03:31
  • 18I Do What I Love02:52
  • 19Paradise03:45
  • 20Winner03:20
  • 21Heal04:53
  • 22Outside03:47
  • 23Powerful03:26
  • Total Runtime01:22:11

Info for Delirium

Ellie Goulding will release her third studio album ‘Delirium’ on November 6th on Polydor Records. ‘Delirium’ is the follow-up to 2012’s ‘Halcyon’, which cemented Goulding’s status as a global artist. The first taste of the album comes in new single ‘On My Mind. ‘Delirium’ is the sound of an artist at the top of her game. “A part of me views this album as an experiment – to make a big pop album,” she says. “I made a conscious decision that I wanted it to be on another level.”

It has been a whirlwind few years for the singer from Herefordshire. Since the release of her debut ‘Lights’ in 2010. This year’s ‘Love Me Like You Do’ single, meanwhile, was a worldwide Number One hitting the top spot in 70 countries and breaking the record for the most streamed song in one week. Some artists might be inhibited about where to go after such success but Goulding had no doubts: make everything bigger, better and braver.

‘Delirium’ is an expansive pop album that reflects its globe-spanning creation. It was written and recorded in London, Herefordshire, Sweden and Los Angeles. Goulding worked with Max Martin, Greg Kurstin, One Republic’s Ryan Tedder, Klas Ahlund and Disclosure’s Guy Lawrence as well as long-time writing partner Jim Eliot in crafting the defining album of her career, a jubilant and euphoric pop statement. Songs such as ‘Devotion’, ‘On My Mind’, ‘Don’t Panic’ and ‘Don’t Need Nobody’ are monumental anthems that retain a personal intimacy: epic tracks with a heart and soul. That balance is displayed most devastatingly on Army, a track written about her best friend Hannah. ‘Delirium’ is the work of an artist who is seizing her moment, and has never sounded more assertive and in control.

The album title felt to Goulding like it was the word that summed up everything she’d been through to get to this point. “It can be describing a really happy, crazy state, or it can be the complete opposite. I’m constantly in a state of delirium,” she says. ‘Delirium’ feels like the culmination of all Goulding has experienced. It is the sound of someone taking the triumphs and heartbreaks and fears and joys and channeling them into something powerful and mesmerizing. It’s a talent only the most gifted of artists can reach. Ellie Goulding keeps finding new levels to strive for.

„British chanteuse Ellie Goulding returns with her highly anticipated third studio album, 2015's expertly produced Delirium. Goulding's previous effort, 2012's Halcyon, was a hypnotically ambient, lightly experimental album that balanced catchy pop hooks with textural electronic soundscapes. While Delirium isn't devoid of this electronic atmosphere, it's somewhat more mainstream in its tone, and finds Goulding expanding her sonic palette with a melodically catchy set of more R&B-infused songs. Helping Goulding to achieve this are a handful of uber-pop producer/songwriters, including Sweden's Max Martin (Britney Spears, Taylor Swift) and Carl Falk (One Direction, Nicki Minaj), Savan Kotecha (Ariana Grande, One Direction), Greg Kurstin (Sia, P!nk), and others. Halcyon also benefited from a similarly collaborative approach, but Delirium feels less distinctly personal, bigger in scope, and brimming with a pressurized commercial energy. But that's not necessarily a bad thing. Whereas Halcyon may have required several listens to grow on you, Delirium grabs you with immediately hooky, danceable tracks like 'Something in the Way You Move,' 'Keep on Dancin',' and 'Don't Need Nobody.' Some of the more R&B-leaning cuts like the Police-meets-Rihanna single 'On My Mind' seem at first like an odd fit for Goulding's highly resonant, throaty chirp of a voice. That said, Goulding's voice has always fit well in the contemporary pop landscape and even when you get the sense that she's trying on someone else's sound, as in the CeeLo-esque 'Around U' and the swoon-worthy 'Codes' with its '90s Brandy-meets-M83 vibe, the sheer craftsmanship of the material alone keeps you listening. There are also enough passionately heartfelt EDM anthems, like the effusive 'Army' and bubbly, Ibiza-ready 'Devotion,' to please longtime Goulding fans. Ultimately, it's the unexpectedly appealing combination of Goulding's distinctive voice and the melismatic R&B bent of the songs on Delirium that makes for such an ecstatic listen.“ (Matt Collar, AMG)


Ellie Goulding
Never likely to be one of those singers who is content just to turn up, lay down a main vocal part and leave, Ellie’s approach to writing and recording is, she admits, borderline obsessive – but then, anything less, she says, would be a waste of time.

As her debut album, Lights, made so thrillingly clear, Ellie Goulding uses her voice as a texture in much the same way that a skilled instrumentalist would. It is a sound – in Ellie’s case, an utterly distinctive and unforgettable one – that can play as important a role in her songs as any other musical detail.

The new record Halcyon describes a journey out of heartache and towards hope. It is almost as if you can hear Ellie’s psyche shrinking and then renewing, rebooting itself after two-and-a-half tumultuous years in her life: a Brit award, the release of Lights, love, loss, writer’s block, a new relationship, singing at the White House and at a certain spring wedding, a number one pop record that has done over 3m in America, confronting her doubts and fears, digging deep and locating her artistry again, returning to the countryside she grew up in and, in a converted barn, making a record that confirms her as one of this country’s most singular and compelling songwriters.

Two such fans are a young couple who, in April 2011, were married in London and, for one of the few private moments the world allowed them on the day, approached Ellie and asked her to sing at the party they were holding following the wedding reception. It isn’t every day, of course, that a musician will stand on a stage as a pair of giant doors open, and watch pretty much the entire Royal Family advance into the room, the Duke and Duchess of Cambridge at their head, ready to be entertained.

But that is exactly what happened to Ellie and her band at Buckingham Palace when, after months of secret negotiations during which Ellie was sworn to – and maintained – her silence, she sang a selection of her own songs and cover versions (including tracks by Michael Jackson, Tina Turner and, inevitably, Elton John’s Your Song) for the newly-wed royals, and afterwards mingled with their guests.

Ellie’s success in America – her single, Lights, is still an immovable fixture in the upper reaches of the Billboard Hot 100 chart, after 35 weeks – has been another experience she finds it hard to describe. America has clearly got under her skin. “They embrace everything,” Ellie says. “They’ll take your biggest fault and turn it into something positive. And the work ethic in music over there isn’t like anything I’ve ever known. You get back to your hotel at one in the morning and someone will contact you and go, ‘Do you want to come over to the studio?’. So over you go, and there’s Swedish House Mafia and Skrillex there, and will.I.am in the next-door studio. Everyone’s just hanging out, making music.”

Capturing a period of profound change and transition in Ellie’s life, Halcyon is, despite the mournful nature of much of its inspiration, ultimately a redemptive album. Above all, it communicates the sense of a young musician poised on the cusp of new adventures, the war won (although, this being Ellie, it may turn out to be only a temporary truce), and lessons learnt.

When she says, “Loneliness has been the biggest influence on this record; I feel like what I do is lonely”, you want to give her a reassuring hug. But then Ellie will follow this with: “I still feel like there’s this force, pushing me to do this.” And you are reminded of precisely what it is that makes her so special: honest and self-aware enough to endure and acknowledge her propensity for what she herself calls “over-thinking”; brave enough to confront this and go into battle again; and possessed of a talent, and a voice, of such extraordinary power that, for all her vulnerability, you sense that, deep down, Ellie Goulding knows she is impregnable.

This album contains no booklet.

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