It may not feel like it, but it has been almost four years since New Zealand starlet Lorde stormed the pop music scene with her debut album Pure Heroine, following the release of the radio and chart phenomenon ‘Royals’. Since then, Lorde has remained relatively under the radar, releasing the occasional collaboration or movie track but staying out of the limelight. Now she is back with her sophomore album Melodrama, which Tumblr hipsters and Twitter Stans have been eagerly awaiting. The question is, has Lorde’s new material been worth the wait?

Overwhelmingly, the answer is yes. There is a sonic clarity seen throughout Melodrama that was missing from Pure Heroine, as Ella Yelich-O’Connor seems to have finally settled into her own sound, with a more upbeat and radio-friendly production than before. The album’s first single ‘Green Light’ has already proved to be a dance-pop success, and there is certainly chart potential for some of the album’s other tracks. ‘Homemade Dynamite’ has an infectiously catchy chorus, where Lorde brazenly declares that she’s going to “blow shit up with homemade d-d-d-dynamite”. It’s the perfect late-night motivator to neck down some quick shots at the bar and hit the dance floor with your squad.

Although Lorde is mostly recognised for her dark lyrics and broody vocals, there are some surprisingly sweet and heartfelt moments on Melodrama. ‘The Louvre’, a personal favourite from the new record, is a celebration of an imperfect love story that Lorde can’t seem the let go of. ‘Liability’ is an exposé of Lorde’s vocal abilities, a delicate piano-driven song reminiscent of something Marina and the Diamonds would sing for an acoustic set. It’s revisited later for a reprise, though this doesn’t seem to add much more to the album. Similarly, ‘Sober’ later receives a part deux, though this, regrettably, seems to just fill time more than anything.

 

‘Writer In The Dark’ is one of the standout tracks from the album, where Lorde’s vocal delivery is notably breathy and wailing, a departure from her low and raspy voice. It’s hard not to hear traces of Kate Bush or Florence Welch as Lorde builds up to each monumental chorus, declaring her bittersweet and overbearing love for someone else. Unfortunately, ‘Supercut’ isn’t quite as successful at grabbing the listener’s attention. It feels like a throwback to her last album, though this time Lorde’s alternating sing/speak vocals don’t seem to mesh together. ‘Supercut’ is most likely to be the ‘skip’ track of the album.

The final track on Melodrama, ‘Perfect Places’, is already a fan favourite online, and it’s not hard to see why. This is possibly the most mainstream pop song Lorde has ever delivered, and it’s a finely crafted one too. It’s the younger and more excitable sibling to ‘Green Light’, and it deserves its own single release. It feels like an impulsive and celebratory firework display, closing out Lorde’s latest musical triumph in style.

 

The Result?

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Whether Melodrama will be the alt-pop album of 2017 remains to be seen, especially with new music from artists like Lana Del Rey, Halsey and Dua Lipa on the way. However, in Lorde’s case it is clear that she has sonically evolved into a more accessible and memorable songstress. Whereas Pure Heroine focused too much on materialism amongst millennials, this new record explores Lorde’s more romantic experiences, and demonstrates a greater understanding of the trials and tribulations of love. Although it is clear the album as a whole could have been refined and edited into something a bit more polished and complete, Melodrama will cement the loyalty of Lorde’s listeners worldwide. 

For fans of Lorde, this is the follow-up they deserved after such a long wait.

Melodrama is out now on Spotify and iTunes