![]() Owen Myers: In a music world where this month’s other big pop album has clunky lyrics like “ Marylin Monroe in a monster truck,” I’ll take Ella Yelich O’Connor’s unabashed sincerity any day. Owen, how do you think Melodrama advances the stories Lorde started telling on Pure Heroine? Now, though, we’ve got Kate Bush-like wails on “Writer in the Dark,” second single “Liability” has the folksy unease of mid-career Bright Eyes, and the guitar outro of “The Lourve” sounds like Disintegration-era The Cure, or maybe something by The Cranberries.īut, like Myles said, these still feel like Lorde songs, thanks to some of her not-so-subtle trademark touches: wordy pre-choruses, dynamic tomfoolery, sentimental poetry. ![]() You can hear the patchwork of Lorde’s influences more clearly than on her debut, which was maybe too forward-thinking to be at all nostalgic. Overall, Melodrama feels like a map of a freshly expanded universe, one drawn by a music nerd with a bevy of new resources and collaborators at her disposal. I love that it’s such an opener that nearly a cappella first verse would likely empty a dancefloor in the middle of a set, but it works great here, as an introduction. ![]() I was a huge fan of “Green Light” off the bat. McDermott: To my ear, the sound of Melodrama is a remarkable upgrade. Patrick, what are your thoughts about how the tweaks she’s made to her sound on this album? ![]()
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