Waiting for it, that Green Light, we want it!
By Niy Birden
How many amazing things can you list about Lorde? Whether it is her perfectly-curated image, her hilariously opposite, bubbly personality in contrast to her dark music, or her very honest teenage narration of life, you have to admit, that girl is one of the most impressive music-making youth we have in today’s mainstream culture of pop. And speaking of pop, she seems to have embraced the inevitable American influence of it in her album. That was clearly obvious when she released her first single, ‘Green Light’, earlier this year. But take a close listen her long-awaited sophomore album, and it becomes more and more clear: there is no stopping this pop icon. And she may have just gotten much, much better.
The album bursts through your front door with the upbeat and exciting ‘Green Light’, giving an early insight as to what the album could possibly be based on. Detailing her “first major heartbreak’ it’s lyrics are brutally honest and her vocals are intense. Playing on her usual technique of upbeat songs with deeper meanings behind it, you’d immediately feel conflicted as to whether or not she is upset about this breakup or wildly excited. Either way, someone lied to her, which you immediately hear in the context of the ending first verse “She thinks you love the beach, you’re such a damn liar”, with the words ‘liar’ being echoed softly in the background.
The next track, ‘Sober’ is a quite impressive track because not only does it feature even more amazing play on relationship and teenage drama, but it makes quite the musical mark for her with the extensive use of brass horns. This is also another song where she uses the metaphor of dance being used in her lyrics, and goes on to ask an important question that many teens ask themselves but are too afraid to ask aloud “But what will we do when we’re sober?”. The brass horns come on strong, almost as if it is slapping you in the face and running away quicker than you can catch them each time. It gets to a playful and undoubtedly cool-girl moment when the lines “Jack and Jill get fucked up when it’s dark” as she nearly-raps it, without any music, and without any real break for air. And that dance beat-perfectly placed.
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