It’s been three years since Lorde was relaxing on top of the music world with a monster sole (“Royals”), two Grammys and a multi-platinum album in “Pure Heroine.”
“Melodrama” is a split up record for the age range, influenced by heartache, home hesitation and loneliness that’s more relatable than 99 percent of today’s pop music.
Don’t be fooled by the album’s starting manifesto. “Green Light” appears like an uplifting anthem until you absorb its desire to go on from a recent relationship with no actual ability to take action.
Lorde echoes that sentiment with among the better writing of her young profession on “Sober,” performing, “It’s time we boogie through the truth.” With the help of co executive company Jack Antonoff, it can sound somewhat like Taylor Swift’s “1989,” only much more biting and natural.
A lot of that has to do with Lorde’s unique voice, which can shape pop song by means of alt-R&B. And there’s an undeniable edge to her, like when she boldly proclaims “Jack and Jill get f***ed up and possessive…When it gets dark.”
Led by the production of electric maestro Flume, “The Louvre” beats such as a heart that’s about to burst. But even that’s no match for the mental electricity of “Liability,” where Lorde reaches her most susceptible (“I am a toy people enjoy until the tricks don’t work anymore”).
Not since Kanye Western laid his center bare on “808’s & Heartbreak,” has a mainstream pop superstar made their pain so unapologetically interesting. Just try not to recall one or more times the phrase “When you’ve out harvested a lover, depends upon knows but you” put on you.
Not everything on “Melodrama” packages such a forceful punch. Sonically, “Homemade Dynamite” appears like a lesser version of Sweetheart Gaga’s “Paparazzi,” while “Sober II” is overproduced for an archive it doesn’t really go everywhere.
Lorde is way better suited for “Writer in the Dark,” an astounding ballad that knocks you off your toes when the studio effects drop out and only Lorde’s best vocal performance.
“Melodrama” closes with the the uplifting “Perfect Places,” which seems a bit out of place given the rest of the album’s despair. But Perhaps you have to crawl out of your opening sometime.
Still, that duality isn’t lost on Lorde. She fittingly ends her latest recording with an a blunt and rhetorical question: “The actual f*** are perfect places anyway?”