Made famous through her indie pop and electronic music, British icon Ellie Goulding, with the release of her new album Delirium, is saying farewell to the genre that propelled her into stardom in search of a new sound and image.

Goulding’s sound over the years has garnered a complicated and highly unique range of descriptions, from synth pop to folktronica. But this time around, Goulding is skirting the guesswork, leaning toward a new, possibly simpler direction — pure pop.

But Goulding is not new to the top 40. She has an extensive history working with other recognized artists, like Calvin Harris, and has ranked high in the charts, especially in the U.K.

With the help of some highly notable pop producers, such as Greg Kurstin and Max Martin, there are high hopes Goulding’s new album will not only blow up in the U.K., but will also be a hit across the Atlantic.

At its core, Delirium is beyond catchy — perfect for any pop lover or karaoke regular. Goulding released an entire album of songs easy to sing and dance along to, with simple harmonies and beats and uncomplicated lyrics.

Each song highlights Goulding’s extremely high-pitched, otherworldly voice, along with the infamous “talk-singing” made popular in today’s pop music scene.

But, not everyone is pleased with Goulding’s shift in sound. Unsurprisingly, some fans are afraid Goulding’s new front isn’t quite “her.”

Despite an array of tempos, each song on the album has a similar, unanimous sound. Whether fans perceive this as a strong theme held throughout the album or a lack of creativity as a whole will be revealed soon enough.

The album focuses less on the colorful lyricism she’s known for, and more on unlimited dance beats and vibrant, energetic sounds. Unlike her 2010 album Lights, which championed vocal variety and talent through songs like her famous Elton John cover “Your Song,” Delirium is low on diversity, playing around with what’s fun and entertaining, rather than exploring anything profound.

With few exceptions, many of the songs on the album, like “Something In The Way You Move” and “Aftertaste,” have little to no deeper lyrical meaning, but instead are just jams that facilitate good grooves.

It is too soon to tell whether or not Goulding’s new image will help her harvest a wider fan base, or if it will drive away long-time enthusiasts who appreciated her original, eclectic sound.

Despite this apparent change in sound, though, Goulding’s style has not transformed completely. Delirium still contains the high-pitched vibrato of Goulding’s voice and the electronic tones fans have been drawn to since her debut in 2009.

Goulding has proved over time she has the aptitude for creating music that resonates in listeners and climbs the charts. But only time can tell whether leaving behind her old self is what will keep her on top.