ellie gouling, sheet music, piano notes

Ellie Goulding and Electro Music

“I was obsessive about murder,” the British pop singer Ellie Goulding said of her childhood recently while regarding a diorama of taxidermied antelope on the American Museum of Natural History. This 28-year-old musician, recognized for her breathy, ethereal singing voice, stated that her father collected books about true crime, “so I knew everything about Jack the Ripper, even Yorkshire Ripper, Ted Bundy, Charles Manson.”

Growing up in public places housing inside tiny parish of Lyonshall in western England, Lost and found singer cherished school visits for the Imperial War and Science museums in London, a three-hour drive in your own home. “It was expensive,” she said, “and this type of special occasion to look there.” These days, her status as one of England’s most celebrated pop stars renders her cultural expeditions a smaller rarity. Last November, she rented the Natural History Museum in London — now just later on from her home — for the private nighttime tour, mothers day gift to be with her boyfriend, Dougie Poynter, the bassist within a band called McBusted.

The occasion made tabloid headlines in England; Ms. Goulding is really a frequent subject of fascination from the British gossip news media. The minutiae of her outfits, outings and relationships are chronicled as obsessively from the United Kingdom as, say, Khloe Kardashian is roofed here. With the discharge of her third album, “Delirium” (Cherrytree/Interscope), on Friday, Nov. 6, Ms. Goulding will make a similar leap inside the United States. Check Lost and Found sheet music here.

This album marks a shift coming from a sound fusing opaque electronics and lilting organic elements to full-on pop music, the amount of shiny, compact hooks which come from utilizing pop masterminds just like the songwriters and producers Greg Kurstin and Max Martin. (Mr. Kurstin is in charge of Adele’s “Hello” and Mr. Martin with the Weeknd’s “Can’t Feel My Face,” 2 of the biggest hits of the season.) The first “Delirium” single, “On My Mind,” made by Mr. Martin, can be a jumpy midtempo track on what Ms. Goulding’s florid trills are edited to a high-pitched clip. It has already cracked the Top 20 of Billboard’s Hot 100 chart.

Lost and Found Official Video

Ms. Goulding has produced radio smashes before — “Lights,” “Love Me Like You Do,” the Calvin Harris collaboration “I Need Your Love,” all Top-20 hits — but from the past she’s preferred soft anthems that showcased her exceptional voice, a quivery soprano whose closest antecedent just might be Kate Bush. She began writing songs for a young age, and also at 21, she met the young London producer Starsmith, whom she had contacted via Myspace; by 2009, some songs she had composed had become her debut album, “Lights.” That record’s success made her the sort of star that’s asked to perform in the wedding reception to the Duke and Duchess of Cambridge and with the White House for President Obama.

Though her early work veered toward folk pop, her penchant for electronic elements made her songs attractive for remixes, and Ms. Goulding designed a reputation being a sort of crown princess of electronic dance music, or EDM. “She was obviously a lot completely different from the major pop singers in America,” Mr. Kurstin said. “A wide range of people who didn’t enjoy pop music but who liked electronic music liked her. Now pop singers can be a little more electronic, but Ellie really stood out in this area.”

Tracks like “Starry Eyed” received hulking dubstep remixes, and her songs with Mr. Harris became huge anthems at EDM festivals. Her American audience appeared to splinter relating to the Electric Daisy Carnival set and adult contemporary radio listeners. “Electronic music is my real love, but I pointed out that the music I hear is not necessarily the tunes I need to perform,” Ms. Goulding said. “It’s the moments around my set where I play the greatest songs that I really like. My voice will almost always be unique and unusual plus a voice for electronic music because it’s recognizable, it’s very unique. But I identified exactly what I wish to do with that voice.”

In contrast to her often brooding 2012 album “Halcyon,” “Delirium” is upbeat and populated with exuberant love songs. “I got happier and happier, and found themselves not wanting to overthink,” she said. “I have numerous interests, and I realized finished . I wanted to invest in, as well as be generally known as, is usually a pop artist. I wasn’t doing that before — I was just teetering, and never really committing.”

Yet Ms. Goulding declared that her decision to collaborate with superstar producers was established by her want to generate singalong moments in their live performances. “People may think, ‘Oh, she’d like to work together with Max Martin, he makes the greatest songs,’ ” Ms. Goulding said while walking past a large 1870s Haida canoe suspended from your ceiling. “Everyone wants to do business with Max — but he doesn’t work together with everyone. He’s very selective, actually.”

Ms. Goulding and Mr. Martin met in the recording of “Love Me Like You Do,” her contribution for the “50 Shades of Grey” soundtrack. “I had no idea what he even seemed like,” she said. “When we recorded that song, I thought he was hilarious, so we got on so well. When I remarked that, we’d fun, so we understood the other person. Besides making big records, there’s anything important than dealing with someone you have on with.”

Despite her reign like a chart-topper plus a dance-music power vocalist, Ms. Goulding has maintained a public persona which is occasionally glamorous but overwhelmingly accessible. At the Met Gala in 2010, she wore a silvery, beaded dress by Marchesa; a couple of days later, she posted an Instagram photo of herself from Women’s Health U.K. magazine kickboxing in leggings plus a tank top. “I think if my music’s profiting, I don’t must be something else which I’m not,” she said. “I’m not attempting to be more compared to a singer. If I wore something revealing or said something a tad outspoken, it’s because I really mean it, or because I really wish to wear it. It’s not for virtually any other reason. That’s what I get now from being really confident in myself. I can wear probably the most unflattering outfit, and I don’t care.”

On “Delirium,” Ms. Goulding tries on the more staccato vocal delivery, containing the effect of heightening the dramatic tension in their own voice. “I’m touchable,” she said. “I’m not otherworldly. I think my voice is one thing untouchable, but I think me like a person will not be. My voice doesn’t compare to anything. No one else are ever going to have my voice. That’s the single thing I have. My personality and me, besides my voice, is quite reachable and relatable, I think.”

Accustomed to being chased down by paparazzi in England, Ms. Goulding was hyper-aware of patrons from the museum cafe who brought out their smartphones, checking as long as they were snapping surreptitious selfies with her inside background. At the museum, though, a couple weeks before “Delirium” will probably be released, really the only person who could have spotted her would have been a towheaded 20-something who eyed her as she examined a preserved specimen of Guinea worm within an exhibit about disease eradication.

“I’m not necessarily like my music, that may be quite brutal, quite powerful,” she said. “I can be extremely shy, and there’s not very much about my music anymore that’s shy. It’s the final freedom of expression. It’s normally the one place where there’s nothing involved apart from me, my thoughts and my musings.”


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