Emerging as a fully formed enigma from her native New Zealand, Lorde tapped into an untouched well of alienation, becoming the poster child for a generation who found refuge from the eternal excess of the 2010s by submerging themselves in moody art. "Royals," the hit single that made her an international phenomenon, became a genuine sensation, topping the charts in country after country and being covered by elder statesmen like Bruce Springsteen and Jack White, a move that functioned a bit as a benediction. Lorde didn't need their blessing, though. The singer/songwriter struck a chord, functioning as the dark corollary to the bright, happy pop of Taylor Swift and Katy Perry and thereby becoming an icon for teenagers who felt older than their years. Born Ella Yelich-O'Connor on November 7, 1996 in Takapuna, New Zealand, Lorde delved into art at an early age. By the time she was entering adolescence, she started performing as a duo with her friend Louis McDonald, winning a talent contest at Belmont Intermediate School in May 2009. Soon, the pair were featured on the Radio New Zealand's Afternoons show hosted by Jim Mora and, on the strength of this performance and a tape McDonald's father sent to Universal, the record label signed a development deal for Lorde. Throughout 2010, she continued to attend school and perform with McDonald, but 2011 is when things started to turn a little more serious. Universal teamed the singer with vocal coach Frances Dickinson and started to write originals, often with the assistance of other songwriters, but nothing clicked until her A&R head Scott MacLachlan introduced her to Joel Little. The former lead singer of Goodnight Nurse, Little proved a good collaborator for the fledgling singer/songwriter and the pair recorded the Love Club EP, which appeared on SoundCloud in November 2012. The Love Club EP swiftly earned an audience, so Universal released it commercially in March 2013; it peaked at two on the New Zealand and Australia charts. The reason for its immediate success was "Royals," which was spun off as a single in the summer of 2013 and soon swept across the globe, where it topped the charts in the U.S., the U.K., Canada, and Italy, and reached the Top Ten in most other Western countries. Her full-length debut, Pure Heroine, followed in September 2013 and it also became an international smash, earning triple-platinum certification in the U.S., quintuple platinum certification in New Zealand, and going gold in the U.K. Further singles followed -- "Tennis Court" and "Team," the latter of which turned into a Top Ten hit in the U.S. -- and Lorde worked Pure Heroine into 2014, touring and headlining many festivals around the world. "Yellow Flicker Beat," a song from the soundtrack of The Hunger Games: Mockingjay, Pt. 1, followed in September of 2014. Lorde next turned her attention to writing and recording for her second album, which took nearly two years to materialize. Once she began collaborating with Jack Antonoff of Fun. and Bleachers in 2016, the album took shape. "Green Light," the first single from her sophomore set, appeared in March 2017, with the full-length Melodrama following in June. ~ Stephen Thomas Erlewine
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Alternative & Indie - Released June 16, 2017 | Universal Music
Distinctions Pitchfork: Best New Music
It’s easy to be popular and commercial. It is less so to be popular, commercial AND brilliant. Yelich-O’Connor, aka Lorde, runs straight into this category reserved to a fortunate few. With Melodrama, the young New Zealander confirms a talent that was already impressive on Pure Heroine, her first album from 2013 released when she was only 16! All the elements of the pop identity are there. Lorde talks about herself, about being a 20 year old woman from the suburbs, about her dreams, solitude and ennui, about the transition to adulthood, about love of course, and also about disillusionment. In short, no pop cliché is missing. Lorde works wonders with the raw material accessible to all. Without trying to make the genre appear more complex, and staying firmly rooted in it, she establishes her singularity, her style, her name. “Writing Pure Heroine was my way of enshrining our teenage glory, putting it up in lights forever so that part of me never dies. Well, Melodrama is about what comes next... The party is about to start. I am about to show you the new world.” With this second album, she highlights even more the quality of her writing, and of her voice too. Musically, there is no lurid effect because everything is done to magnify the song, and nothing but the song. In a way, the mastery radiating from Melodrama puts her closer to Madonna, Elton John or Kate Bush than to Katy Perry or Miley Cyrus. And in her post teenager coating, she almost offers the ingenuousness of a rather mature soul singer… In short, such an understanding of the pop dialect at only 20 is rather astounding… © CM/Qobuz
Pop - Released January 1, 2013 | Universal Music
Signed to a major label at an early age, she was groomed in the darkness of studios, the label knowing the potential they had in their singer/songwriter. She wrote on her own, then she was paired with a sympathetic producer/songwriter, live performances taking a back seat to woodshedding. If this story in the early years of the 2010s brings to mind Lana Del Rey, it's no coincidence that it also applies to New Zealand singer/songwriter Lorde, whose 2013 debut, Pure Heroine, contains all of the stylized goth foreboding of LDR's Born to Die and almost none of the louche, languid glamour. This is not a small thing. Lana Del Rey is a self-created starlet willing herself into stardom but Lorde fancies herself a poet, churning away at the darker recesses of her soul. Some of this may be due to age. Lorde, as any pre-release review or portrait helpfully illustrated, was only 16 when she wrote and recorded Pure Heroine with producer Joel Little, and an adolescent aggrievance and angst certainly underpin the songs here. Lorde favors a tragic romanticism, an all-or-nothing melodrama that Little accentuates with his alternately moody and insistent productions. Where Lana Del Rey favors a studiously detached irony, Lorde pours it all out which, in itself, may be an act: her bedsit poetry is superficially more authentic but the music is certainly more pop, both in its construction -- there are big hooks in the choruses and verses -- and in the production, which accentuates a sad shimmer where everything is beautiful and broken. There is a topical appeal here, particularly because Lorde and Little do spend so much time on the surface, turning it into something seductive, but it is no more real than the studied detachment of Lana Del Rey, who Lorde so strongly (and intentionally) resembles. Born to Die is meant to be appreciated as slippery, elusive pop; Pure Heroine seems to hint at the truth...but the truth is, Lorde is a pop invention as much as LDR and is not nearly as honest about her intentions. ~ Stephen Thomas Erlewine
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