Catchy beats and generic lyrics do not make good songs, as is evident in both “Codes” and “Holding on for Life.” It is understandable that artists like this make their living based off the Top 40 market, but frankly, the Top 40 market rarely makes good music. Consequently, they lack any sort of substance or artistic integrity. The next two tracks, “Codes” and “Holding on for Life,” sound heavily catered to radio time. It’s just as annoying, but just a tad bit quieter. The only way to describe the track would be to call it a tame version of the “Barbie Girl” song. However, give credit where credit is due for “Around U” because this time, the song doesn’t waste anytime before bugging the crap out of you. “On My Mind” has a similar effect, pulling influence from a pseudo-hip hop vibe but eventually jumping into a sound that you can’t help but hate. You want to like it, but you know it’s not best for you. “Keep on Dancin’” is the kind of song you would hear on the radio and immediately turn the station off in fear of the reality that the beat will be stuck in your head the entire day. It’s evident Goulding attempted to deviate a bit from her general sound with this track in order to diversify her soundscape, and it does have that effect for a short span of time, only to be shoved right back into the Top 40 sound that she seems to be clinging to the whole time. It is hard to tell one track from the other until the album comes around to “Keep on Dancin’,” which draws the listener in with a unique hook, almost keeps them there, but just barely misses. This same general sound continues in the next track, “Something in the Way You Move,” which bores the listener almost immediately.
CLOSE TO ME ELLIE GOULDING ALBUM ARTWORK FULL
The chorus and bridge portions of this track are vibrant and full of energy, possessing the melding of EDM and R&B qualities you could expect from an Ellie Goulding hit, but the remainder of the song sounds like generic radio pop. The first two tracks, “Intro (Delirium)” and “Aftertaste,” essentially meld into one big song, the first portion being one large and eerie buildup for the eventual transition into the definable beat and melody of “Aftertaste.” The project, entitled “Delirium,” was released last Friday and houses back-to-back generic and bland songs that once again box Goulding into the radio-pop genre. Much like the jacket she is wearing in the album artwork, it is not pretty. Ellie Goulding, the artist who has plagued the radio with songs like “Lights” and “Burn,” is back with her third studio album.
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