Elsewhere, she inches back to her dance music roots on the sultry house-leaning "Don’t Need Nobody" and the marriage of a scratchy acoustic loop with techno on "Devotion".īut while the best tracks here are the ones that transcend and build on pop trends, a few others merely copy them. TION or Taylor Swift’s 1989, with gushing vocals and Moroder-kissed synths on tracks like "Codes" and her Fifty Shades of Grey song "Love Me Like You Do".At times, the record exists in the same '80s-pop wannabe universe as Carly Rae Jepsen’s E While Halcyon was a dark collection that flitted between club-ready synth-pop and soulful, orchestral ballads, Delirium dives head first into the former with confidence.
And Goulding, who went from being famous only in the UK to performing at the White House, very much deserves at this point in her career to have a third record fit with all the big pop trimmings.
But after flirting with indie dance, then Calvin Harris and Starsmith-produced EDM, Goulding is adding some Swedes to her arsenal for Delirium: Max Martin, Carl Falk, and Peter Svensson, to be specific.
0 kommentar(er)
