‘Flux’ is genuinely stunning – vocally enthralling and lyrically fascinating, ‘Love I’m Given’ is, as far as I’m concerned, a perfect pop track, and ‘Hate Me’ is a catchy banger with a good feature from the late rapper Juice WRLD. In fact, this record has some of Goulding’s best songs to date. It’s quite enjoyable most of the time, and that’s definitely a relief. Unfortunately, though, in its current state, Brightest Blue is an unnecessary 17 tracks long.ĭespite those issues, this album stays in the green for the most part. All of this brings me to the conclusion that by merely trimming the fat, Goulding could have put together quite possibly her best album to date. The random interludes ‘Cyan’, ‘Ode To Myself’, and ‘Wine Drunk’ are underwhelming as well, and they act as nothing more than a way to stretch out this record. Same-sounding cuts like ‘New Heights’, while vocally strong, drag on and ultimately bog this album down. The clunky ‘Tides’ comes to mind with its glitchy, jarring, and incessant production, forgettable chorus, and unremarkable vocals.
Goulding offers a relatable and thought-provoking side of herself on this track that hasn’t come through on her past albums up until this point.ĭespite these solid offerings, Brightest Blue is prone to some duds, too. The lyrical highlight on this song comes when Goulding sings: “And maybe I’m paying for the ones I’ve hurt / But I feel a change in the love I’m given / I’m turning the page on my indecision”.
The thundering chorus, distinctive production, and honest lyrics all come together to make a truly excellent track. Songs like the catchy and well-written ‘Power’, bombastic and triumphant title track, stunning slow ballad ‘Woman’, and vibrant collaboration with Diplo and Swae Lee ‘Close To Me’, prove what this album can offer at its best.īut while those four songs are good, they don’t compare to the best song on this album, ‘Love I’m Given’. I don’t want to spend this whole review criticizing Brightest Blue, though, because most of the time, Goulding delivers a more than solid effort. Ellie Goulding’s new album, “Brightest Blue” Two of them are listenable, and the other two are legitimately good, however they feel disjointed from the first 13 songs on the album, and end up feeling kind of excessive. And the four collaborations shoved at the end of this record don’t fit with the album’s otherwise cohesive sound. The production can sometimes feel cluttered on songs like the multifaceted and slow-moving ‘Start’ or the busy, yet melodically lacking ‘How Deep Is Too Deep’. On top of that, the moments of experimentation and collaboration aren’t totally convincing, either. On Brightest Blue, Goulding’s fourth studio album, she opts for a largely stripped back sound, which – while excellent for letting her melodic, distinctive, and powerful voice shine – also makes this album feel occasionally thin and one-dimensional. I hoped the excessive length and over-reliance on electronic production and vocal effects would stop on Delirium however, her newest, double-sided record Brightest Blue doesn’t seem to avoid those issues. The album did have a couple key issues, however. Delirium having the amazing songs ‘Aftertaste’, ‘Something In The Way You Move’, ‘On My Mind’, ‘Codes’, and ‘Lost and Found’ certainly didn’t hurt it, either. That album featured genuine vocal charisma, catchy electronic production, and infectious choruses, making the whole thing a gem. Goulding took the sound on ‘Burn’ and further developed it on the 2015 album Delirium – a really good pop album. But then in 2013, she managed to kill it again with her smash hit ‘Burn’. It was a stunning tune with mesmerizing melodies, incredible vocals, and a sticky chorus. Ellie Goulding shot into the mainstream with her 2011 hit ‘Lights’ – a masterclass in pop perfection.
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