How Successful Is Ellie Goulding's Foray 'Sleek, Bright Pop' and More Music Reviews

— -- intro: This week Ellie Goulding releases her third full-length album, Seal drops his seventh album of original material, Bjork revisits this year’s “Vulnicura” backed only by a string-section, Sara Bareilles goes the Broadway route with her soundtrack to the musical based on Adrienne Shelly’s “Waitress,” and New Orleans rapper Pell aims to bend genres.

quicklist: 1title: Ellie Goulding’s “Delirium” ***1/2text: “Delirium” is Ellie Goulding’s third studio album. The set begins with a rather operatic, dramatic opening as if it is ushering in some sort of sweeping suite. But when the second “Aftertaste” comes in, it is clear that this album is meant to be Goulding’s foray into sleek, bright pop. This is in many ways Goulding’s most overt record to date, full of bold grooves that hit you over head with their catchiness.

Goulding has wisely included the excellent “Love Me Like You Do,” which originally appeared on the “Fifty Shades Of Grey” soundtrack. Of course, then there is “Something In The Way You Move,” which tries to imitate and recreate that song’s repetitive chorus over a funkier disco groove.

Does that mean this is an album of all winners? No. “Keep On Dancin,’” for instance, would be better without the whistling part during the chorus.

Goulding’s biggest weakness is that she finds a sound and then drills it into the ground. This album definitely does have some surprises, however, like the bubbly, hyper, sugar-coated “Around U” or “On My Mind” which takes Rihanna-eque electro-reggae groove and marries it with a guitar riff that sounds straight out of an old record by The Police or Men At Work.

Goulding is basically trying to update a certain brand of eighties pop with a modern EDM spin. Sometimes she hits gold like on the extremely appealing “Codes,” and sometimes she hits a bit of a wall as she does on the rather basic, “Holding On For Life.”

There are flecks of greatness spread throughout “Delirium,” and in all, it is a pretty enjoyable set. Goulding continues to grow, taking her distinctively helium-hued voice to new heights. While it is uneven in spots, there’s something about this album that comes off like a bright wake-up call compared to “Halcyon.” Like its predecessor, it doesn’t possess the underlying folk-y elements ingrained in much of “Lights,” but this is a glee-filled, party record filled with love songs and potential hits. Goulding has yet to make a perfect pop album, but she continues to show potential.

Focus Tracks:

“Love Me Like You Do” This was the best song on the “Fifty Shades Of Grey” soundtrack and it is still the best song here. It is probably Goulding’s best song to date, period.

“On My Mind” That reggae-meets new-wave groove is a real winner, even if like most of Goulding’s tracks it uses repetition like a driving hammer. It’s a clear winner, even if it smacks of the formula.

“Codes” This track reminds me of something else, but I can’t quite put my finger on it. Does it remind me a little of Joe’s hook to Big Pun’s “Still Not A Playa?” A little. But it is roller-rink-ready gold.

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quicklist: 2title: Seal’s “7” ***1/2text: Seal has one of the most beautifully mellow voices in pop music today. He sings with an effortless smoothness that makes him the closest masculine equivalent to Sade. “7” is actually Seal’s ninth studio album, but it is his seventh of original material, considering his two “Soul” collections of covers are outside of the count. So, this is the proper follow-up to “6: Commitment.”

Seal has two stunning, classic albums under his belt. Unfortunately, those two classic albums were his first two, self-titled albums, released in 1991 and 1994 respectively. “Crazy,” “Kiss From A Rose” and “Killer” are still, after all these years, his most indelible and memorable singles. It’s not like the music he has released since isn’t good. It is. In fact quite the opposite. He’s always reliable. But this also means if you hear one latter-day Seal record, you’ve pretty much got the gist of them all. Whereas “Crazy” and “Killer” from his debut were entrancing ear-worms with intriguingly alternative edges and “Kiss From A Rose” from his second album was a sweeping and beautiful ballad with its own unique lilt, it kind of feels like since then Seal has been just playing it safe. That being said, Seal’s notion of playing it safe is essentially, well-crafted, inoffensive mellow pop. He is really heavy on the ballads. That is good on one hand because ballads are his forte and when you listen to a new song like “Do You Ever,” it is pretty clear that he is going for the same audience that is currently hypnotized by Adele’s “Hello.”

“7,” even by Seal’s standards, is a low-key record. Keep in mind, it is his first collection of originals since his divorce from Heidi Klum and that kind of lovelorn heartbreak shows up from time to time on this set, particularly on tracks like “The Big Love Has Died” and “Daylight Saving,” thus contrasting the more upbeat energy on “6: Commitment,” which sounds downright gleeful in comparison. But even when Seal sings a more upbeat song, he does so in a very relaxed and chilled way. “Life On The Dancefloor” is, for instance, a club track, but Seal’s vocal turn is still delivered with that same softness.

“7” is still a highly enjoyable piece of work from a skilled vocalist. Is it a classic? No, but it holds the line and it has enough small surprises to carry it through. Someday, I hope Seal takes a few more momentary steps out of his comfort zone. In the meantime, this album offers a warm, smooth glimpse into his current heartbreak. Let’s hope he gets cheered up again soon.

Focus Tracks:

“Daylight Saving” What a beautiful opening track. There’s authentic sadness in his voice when he sings, “But we’re not still together.” It’s heartbreaking. This song is definitely single material but if you’ve ever lost someone you’ve really loved, it is a really crushing song.

“Every Time I’m With You” This is another smooth ballad, with some nice Beatle-esque and Beach Boys (circa-“Pet Sounds”) sonic flourishes. Again, Seal’s voice really soars when it takes off.

“Padded Cell” This electro jam almost has the momentum found on “Killer,” but it doesn’t quite have the drive. Still, in comparison to the rest of the album, it sounds like Seal is making a conscious effort to return to his roots. When he shouts the high-notes during the chorus, it is electric.

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quicklist: 3title: Bjork’s “Vulnicura Strings (Vulnicura: The Acoustic Version - Strings, Voice and Viola Organista Only)” ****text: The first thing you should know is that Bjork’s “Vulnicura,” released as a surprise in January after it was reportedly leaked, is at this point the only new album of 2015 that has received a five-star review in this column. “Vulnicura Strings” is a collection of eight of the nine songs from “Vulnicura” delivered with Bjork backed by an orchestra of strings. It is an album best enjoyed if you are familiar with the original source material. The songs are still striking, highlighting Bjork’s heartbreak, but at the same time there are little adjustments that keep this version from being on the same level as “Vulnicura.”

Firstly, the tracks are rearranged. “Mouth Mantra,” which is track 8 of the original set, is a particularly jarring opening track, especially in this form. The string arrangements are way up in the mix, and sometimes, when they hit the moment of full fury, they can be on the grating side.

“History Of Touches,” the shortest and arguably among the most heartbreaking songs on “Vulnicura,” doesn’t get a string arrangement. It is instead replaced with an instrumental, viola version of “Black Lake.” Granted, there are no strings in the original version of “History Of Touches,” but that doesn’t mean there couldn’t have been an arrangement constructed.

Don’t get me wrong. This is still an excellent set, in its own right, highlighting the operatic and dramatic destruction left in heartbreak’s wake, but this feels more like (admittedly high quality) bonus material, when it should be shedding new light on a new classic. “Vulnicura” is easily Bjork’s best album in well over a decade. Even though this set is made up of the same songs, it feels like a related but in some ways complementary beast.

Of course, after listening to this album closely, I am of the mind that it is possible that Bjork intended some of these jarring differences. The rearrangements of songs and the sometimes heavy string-work throw listeners for a loop, in effect mirroring the kind disarray one feels when a relationship ends. Bjork wrote “Vulnicura” in the wake of her real-life breakup with artist Matthew Barney. The pain in these songs comes from an exceedingly raw and real place. Considering that this collection plays like a dense classical suite, even in its original form, “Vulnicura Strings” can be seen as this set’s answer to a remix album. Even in its most dirge-driven passages, these songs ache with authenticity.

Again, “Vulnicura Strings” is not recommended for novices. Listen to “Vulnicura” first. It is a masterpiece. If you enjoy it, then this collection is probably for you.

Focus Tracks:

Stonemilker” The soft, gentile and tuneful nature of the original version is maintained here, as the strings really surround Bjork’s sweetly sad voice.

“Lionsong” This is another one where the original majesty is sustained. In fact in this case, the sea of strings really punctuates the song’s emotional tone.

“Black Lake” This is an ode to desertion and desolation in the wake of heartbreak. This is Bjork’s ten-minute ode to her world falling apart. It is quite moving. Removing the beats and the synths from the original makes it that much more dire.

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quicklist: 4title: Sara Bareilles’ “What’s Inside: Songs From Waitress” ****text: Sara Bareilles’ latest album is her soundtrack to the musical, “Waitress.” Yes, this is the musical version of the 2007 film that was written and directed by the late Adrienne Shelly.

It’s actually not a surprise that Bareilles shines in the realm of musicals. She’s always had a bit of a theatrical flair and her clear voice is perfect to handle these songs, which she peppers with spare, rhythmically-placed piano chords. There’s a mantra of “Sugar. Butter. Flour.” Heard throughout various points of the album, but what Bareilles has created here is a continuous suite of songs. Song-wise this is a cohesive Broadway musical with legs.

Bareilles’ distinct piano-playing style gives this collection of songs a quirky, lovable charm. The halting riff that plays during the verse portion of “I Didn’t Plan It” sets up a song that really has hit potential. “Never Getting Rid Of Me” has a ramshackle, playful quality, while the low, quickly-played notes on the Jason Mraz-assisted “Bad Idea” underplays the forbidden sexual farce that plays out in the song’s lyrics.

But at its core, this is a Bareilles album. It could go for the cheesy Broadway side of things, but it really doesn’t. As much as Bareilles seems like a natural fit for that world, she also has good instincts and any number of these songs could have fit on a more traditional album from her catalog. “She Used To Be Mine,” for instance, is a pretty jaw-dropping ballad.

Jason Mraz appears on two tracks, but his unique (sometimes irksome) brand of lyrical shtick is muted because he is firmly in Bareilles’ world.

With these songs, Sara Bareilles has successfully given Adrienne Shelly’s story a fitting musical voice. This album is an impressive feat of both composition and execution.

Focus Tracks:

“I Didn’t Plan It” This is a hit waiting to happen with surprising pop appeal. Bareilles definitely didn’t change her songwriting approach when writing for the stage and that is actually admirable and makes these songs stand out.

“She Used To Be Mine” On some level, this isn’t anything new for Bareilles, but this is an exemplary example of what she does best. It’s a really winning, sweeping ballad.

“Everything Changes” This is another bold ballad. Near the end of the story, the “Waitress” (Jenna) has given birth and talk of her new baby gives way to an impressive waltz of sorts. Again, Bareilles’ writing style packs the musical with an extra emotional punch.

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quicklist: 5title: Pell’s “Limbo” ***1/2text: If you were a fan of rapper Pell’s debut, last year’s “Floating While Dreaming,” be warned, his follow-up “Limbo” is a much more experimental record. The New Orleans rapper is obviously trying to blur genre lines and picking TV On The Radio’s Dave Sitek to produce most of this album means that it has a bit of an alternative R&B flavor. This is a record with a bizarre left turns, which means it is probably an important record in the long run as far as pushing sonic envelopes, but at the same time, there is nothing here as infectious as “The Never,” which was the real standout on his debut. Admittedly, “The Never” had some built-in classic hip-hop cool, since its basis was a sample from the Lonnie Liston Smith track, “Devika (Goddess)” which was also used as the backdrop for Digable Planets’ classic track, “Pacifics.”

Not only is “Limbo” a strikingly more progressive and sonically-challenging record, but at ten tracks and just under thirty-six minutes, it is also extremely brief. But Pell makes his points and he makes them well. The chorus of “Monday Morning” comes in like a ray of sunshine, while “Queso” has a really cool, semi-Latin-flavored swagger. “Confession,” on the other hand, has a hook that sounds like a broken piano being played in conjunction with a warped music box.

This is an album packed with weird surprises and while it’s not quite a game-changer, it does cement Pell as an up-and-comer worthy of your attention. The smoothness of “The Wild” sounds a bit like a trippier and better alternative to both Drake and Kid Cudi. Later, the synths that begin “Sandlot” are jam-packed with an impressive level of warmth. Pell has apparently delivered a promising collection for fans of progressive, left-field hip-hop.

Focus Tracks

“Queso” This is the song on the set with the greatest party momentum. It also has some great percussion and syncopation that goes well with Pell’s flow. You’ll be listening to this on repeat for some time once it really grabs you.

“The Wild” This feels like Pell’s big pop statement, particularly thanks to its soaring chorus which sounds almost like it is from a different song from the verses. This definitely deserves some mainstream airplay.

“Monday Morning” This is the first surprise of the record, since its chorus sounds so bright. After the shock wears off, it will probably win your heart. And when he gets warmed up, Pell gets a nice flow going.

Next Week: Music from One Direction, Jeff Lynne’s ELO and more.

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