Lorde is back with the release of her sophomore album, ‘Melodrama’.
Lorde finally released her second album after a four year gap from her debut album ‘Pure Heroine’. Named a prodigy, genius and savior of pop music, it is not hard to imagine the weight put on the young songwriter’s shoulders with her second album. Lorde talked about the moment after her long expected new single Green Light was released, “I couldn’t get out of bed. I didn’t want to be out in the world. It was so intense to arrive at this moment of, ‘this is it’. Whatever it is, it’s about to be out of my control.”
In ‘Pure Heroine’, Lorde represented middle-class teenagers who dreamed of driving Cadillacs and used a collective “we” in most songs. And now, even though the singer could have cristal, maybach and diamonds on her timepiece, she still is a voice of a generation, just a different one. The 15-year-olds who craved a different kind of buzz finally found it at late teens or early twenties. Regardless of Lorde abandoning her collective “us” for a more introspective and melancholic “I”, she now represents the just-turned-adults teenagers who threw themselves, head first, into partying.
The pop prodigy decided that “Melodrama” would take place in a single house party, each song dedicated to a different stage of partying. “With a party, there’s that moment where a great song comes on and you’re ecstatic, and then there’s that moment later on where you’re alone in the bathroom, looking in the mirror, you don’t think you look good, and you start feeling horrible.” We all know what she is talking about. From the excitement building up in “Sober”, as we get ready for another rollercoaster of a night knowing very well the feeling of dismantlement that will come on the morning-after (“What will we do when we are sober?”). To the late afternoon on the day after, when we wonder why do we make ourselves go through this cycle of high highs and low lows every weekend, so perfectly answered by “Perfect Places” (“All of the things we’re taking/’Cause we are young and we’re ashamed/Send us to perfect places”).
And that is of course, only one side of the album. Lorde said that “Melodrama” wasn’t a “breakup album.” Instead, she said, “it’s a record about being alone. The good parts and the bad parts.” But it is a breakup album, a very good one by the way. A Cosmo article about the album said that heartbreak tends to bring out the best and worst in everybody, we do things and say thing we might not otherwise do or say. That is absolutely true, but what they failed to mention, is how Lorde presented us her worst side, with her absolute best music. All the stalking (“I’ll love you until you call the cops on me”), the self-righteousness (“‘Cause in my head I do everything right”) and pain (“The truth is I am a toy that people enjoy/’Til all of the tricks don’t work anymore/And then they are bored of me”) and all the introspective, sympathetic and healer. So many artists have failed to make breakup albums because they end up being shallow name-calling and exposing nonsense. But Lorde once again proved herself, by making a tridimensional album, with real feelings and pain and most importantly, quality music.
Lorde’s quirky and slightly off places song that makes her instantly recognisable, but still inside the pop genre, makes her one of the greatest artists of our generation. Just like a girl from Auckland went from Ella Yelich to Lorde, we will go from teenager to grown-up, from “Pure Heroine” to “Melodrama”.