#ELLIE GOULDING CD RELEASE DATE SERIES#
The eponymous first side was co-produced by Goulding and Joe Kearns, and showcases her vulnerability with a series of fearless songs. She's created two distinct spaces on this record, which allows her to continue her musical evolution while simultaneously maintaining her pop throne as pop royalty."Įllie Goulding has released her fourth studio album, a double-sided Brightest Blue, her follow-up to 2015’s Delirium. has evolved Ellie Goulding as a songwriter.
Let’s just hope she comes out the other side strong enough to get her own voice heard." Brightest Blue. Instead she is put in uncomfortable looking dresses and made to do dance routines. Ellie Goulding is a lost sheep, a girl who should be falling in and out of love whilst learning all she can from people like Feist, Regina Spektor and Joni Mitchell. You could argue that away from the aforementioned hype-led anticipation that this album would surprise and charm yet without the vested interest of big wigs and shareholders Lights might simply not be here. Honestly, it’s like Calvin Harris producing a Slow Club album.ĭevoid of a true soul or sense of honesty Lights can be a pretty hollow listen. Elsewhere ‘Wish I Stayed’ and ‘Your Biggest Mistake’ begin in a subdued and human fashion before Goulding frustratingly has her good work hijacked by producer and future solo star in waiting Starsmith with his Auto-Tune happy fingers. Goulding’s voice rasps and commands proceedings as she longs to feel the same for a boy who has feelings for her. Album opener and stand out track ‘Guns and Horses’ starts with nothing but a finger picked guitar and basic drum beat. Keen fans will know about her covering Midlake and Bon Iver at gigs and on YouTube and this middle England take on Americana (Suburb-icana?) gives Lights some of its more interesting plot twists. There is angst and longing in Goulding’s voice and hushed delivery that lends itself far better to the battered acoustic guitar and plaid shirt wearing world than she can ever contribute to the sparkle and glamour of FM pop music.
But where is the authenticity? Presumably at some point soon the country is going to reach saturation point with pretty girls making passable pop aided by synthesisers so it seems an incredibly safe move to push Goulding down this well worn avenue when the alternative is the equally as comfortable acoustic folk pop direction. Bleeps and blips cascade around Goulding’s sunny locks, ensuring songs such as ‘Wish I Stayed’ will sound great in a high street store. Lights sounds like a naïve folk album given a blog house remix. Had Goulding emerged two to three years ago when the likes of K.T Tunstall and Amy Macdonald were giving Q readers inappropriate feelings, you suspect this album would have been entirely different indeed. But by waving the magic wand of zeitgeist, the album's producers have tripped themselves up, this glossy and detached sound is completely at odds with Goulding’s gentle, considered voice. Symptomatic of Lights being A&R’d in 2009, electro-pop is her standard, as displayed on the singles ‘Starry Eyed’ and ‘Under The Sheets’. This innocence is something that she carries through onto her debut album Lights and is both endearing and restrictive. However, when an album plays into the hands of those who want to be lazy, this becomes difficult.Īged just 23, Goulding is a young girl and despite clearly being ambitious (she got her break after sending Frankmusik her demos) has the air of a rabbit in the headlights as an industry storm collects above her head. This world stripped of context and heightened expectation is the one in which we should judge Ellie Goulding. Imagine the BRITs Critic’s Choice award was never invented and envisage a world where Marina has no Diamonds and Florence has never even seen a Machine. The media has practically demanded that you do, but imagine the BBC’s Sound poll does not exist. Chances are you will have an opinion on Ellie Goulding.
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