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Alternative & Indie - Released January 1, 2013 | Universal Records

Hi-Res Distinctions Hi-Res Audio
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Alternative & Indie - Released June 16, 2017 | Universal Music New Zealand Limited

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
CD£12.49

Alternative & Indie - Released January 1, 2013 | Universal Music New Zealand Limited

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 /TiVo
CD£12.49

Alternative & Indie - Released January 1, 2013 | Universal Music New Zealand Limited

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 /TiVo
CD£13.49

Alternative & Indie - Released June 16, 2017 | Universal Music New Zealand Limited

Growing up in public has been a rite of passage for pop stars since at least Frank Sinatra but, as with any classic storyline, what matters is the execution. Lorde, the preternaturally talented New Zealand singer/songwriter who became an international sensation at the age of 17, knows how to execute not only songwriting and public narrative but also a melding of the two. Melodrama, arriving nearly four long years after her 2013 debut, picks up the thread left hanging on Pure Heroine, presenting Lorde as a young woman, not a sullen teenager. Tonally and thematically, it's a considerable shift from Pure Heroine, and Melodrama feels different musically too, thanks in part to Lorde's decision to collaborate with Jack Antonoff, the leader of Fun. and Bleachers who has been nearly omnipresent in 2010s pop/rock. Antonoff's steely signatures -- a reliance on retro synths, a sheen so glassy it glares -- are all over the place on Melodrama but Lorde is unquestionably the auteur of the album, not just because the songs tease at autobiography but because of how it builds upon Pure Heroine. Lorde retains her bookish brooding, but Melodrama isn't monochromatic. "Green Light" opens the proceedings with a genuine sense of exuberance and it's an emotion she returns to often, sometimes reveling in its joy, sometimes adding an undercurrent of melancholy. Sadness bubbles to the surface on occasion, as it does on the stark "Liability," and so does Lorde's penchant for blunt literalism -- "Writer in the Dark," where our narrator sings "bet you rue the day you kissed a writer in the dark," thereby suggesting all of her songs are some kind of autobiography -- but these traits don't occupy the heart of the album. Instead, Lorde is embracing all the possibilities the world has to offer but then retreating to the confines of home, so she can process everything she's experienced. This balance between discovery and reflection gives Melodrama a tension, but the addition of genuine, giddy pleasure -- evident on the neon pulse of "Homemade Dynamite" and "Supercut" -- isn't merely a progression for Lorde, it's what gives the album multiple dimensions. © Stephen Thomas Erlewine /TiVo
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Film Soundtracks - Released September 30, 2014 | Hunger Games 3 - Mockingjay

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Alternative & Indie - Released September 16, 2017 | Universal Music New Zealand Limited

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Film Soundtracks - Released November 11, 2014 | Hunger Games 3 - Mockingjay

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Alternative & Indie - Released May 19, 2017 | Universal Music New Zealand Limited

CD£8.99

Rock - Released April 4, 2013 | Lorde

CD£1.49

Alternative & Indie - Released March 9, 2018 | Universal Music New Zealand Limited

CD£1.49

Alternative & Indie - Released September 16, 2017 | Universal Music New Zealand Limited