Lorde previews next single Man of the Year from new album Virgin
The article outlined the single's inspiration coming to Lorde as she was 'sitting on the floor of her living room, trying to visualise a version of herself 'that was fully representative of how [her] gender felt in that moment'.'
'What she saw once again was an image of herself in men's jeans, this time wearing nothing else but her gold chain and duct tape on her chest.
'The tape had this feeling of rawness to her, of it 'not being a permanent solution'.'
Lorde told Rolling Stone journalist Brittany Spanos; 'I went to the cupboard, and I got the tape out, and I did it to myself'.
'I have this picture staring at myself. I was blonde [at the time]. It scared me what I saw. I didn't understand it.
'But I felt something bursting out of me. It was crazy. It was something jagged. There was this violence to it.'
The singer also revealed in the interview, she now describes herself as 'in the middle gender-wise".
The makeshift top in this new image shares a visual resemblance to the outfit Lorde wore to the Met Gala earlier this month.
After a four-year hiatus the Green Light singer returned to the high profile fashion fundraiser event sporting a silver floating bandeau top, matching suit jacket and maxi skirt by American design Thom Browne.
Virgin, Lorde's fourth album, will be released on June 27. In an email to her database announcing the album, the Auckland-born singer said she was 'proud and scared' of the soon-to-be-released work.
'The colour of the album is clear. Like bathwater, windows, ice, spit. Full transparency. The language is plain and unsentimental. The sounds are the same wherever possible.'
Lorde said she was 'trying to see myself, all the way through. I was trying to make a document that reflected my femininity: raw, primal, innocent, elegant, openhearted, spiritual, masc'.
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Watching the videos, I always wonder if the sounds of the security guards ramming a protector with a motorboat echoed, in any way, to the other side of the motu. This all feels more interesting to talk about than the whiny vocals and dull hopes of 'The Path'. 'If you're looking for a saviour, well, that's not me.' Guess not! 43. 'Fallen Fruit' – Solar Power As surefire a way to clear a party as a hippie girl loudly belting out Kumbaya on a guitar. 42. 'Mood Ring' – Solar Power Let's get this out of the way: Lorde has argued that Solar Power is meant to be satirical, not an earnest representation of herself. But self-satire (as opposed to self-deprecation) is hard to do well, and the album isn't witty or cutting enough for the satire to be particularly evident. Even if Lorde feels uncomfortable about rich white women and their foibles, the power that comes with being one can't just be handwaved or self-deprecated away. 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'Hold No Grudge' – Solar Power A retrospective on heartbreak years after the dust has settled, with slivers of embarrassment and wonder at your own past feelings, and a little regret that you don't feel deeply about it now. Finally, she's written lyrics that properly fit the sparse musical feeling of Solar Power, but the music is still a bit average. 35. 'Helen of Troy' – Solar Power extended version 'The city's fallin' for me just like I'm Helen of Troy' girl shut up. 34. 'Yellow Flicker Beat' – The Hunger Games soundtrack 'I am newly famous and also an introvert.' 33. 'Still Sane' – Pure Heroine Pure Heroine's most skippable track. 32. 'Million Dollar Bills' – The Love Club EP I respect the musical weirdness of the beat, but I don't necessarily want to listen to it a lot. 31. 'Liability (Reprise)' – Melodrama This only ranks low because it's inherently slight; it's good as a pause between 'Supercut' and 'Perfect Places' and doesn't need to be anything more. 30. 'Biting Down' – The Love Club EP My initial notes were 'Chomp chomp', while waiting for the rest of the song to kick in so I could say something else. It's an OK track but feels like it had more potential. 29. 'Leader of a New Regime' – Solar Power This endears itself to me by sounding slightly like a downbeat Of Montreal song (like this one). It'd be better if she'd paired it, as they do, with some exuberant, energetic songs (like this one). 28. 'Bravado' – The Love Club EP I'm biased towards songs in B Minor, the saddest key, but you can tell this is a song from an early EP. 27. 'Solar Power' – Solar Power This one was OK as a single, at least before commercial overplay; I do remember listening to it and thinking good for you mate, nice that you're feeling a bit better. Sadly, it didn't have enough energy to capture the joy or bliss she (or the character she was playing? whatever) seemed to be feeling, and came off as detached. 26. 'Oceanic Feeling' – Solar Power Pretty and peaceful, like floating in a quiet body of water. 'Breathe out, tune in' is corny though – stop yelling at me to relax, hot yoga teacher Lorde! 25. 'Sober II (Melodrama)' – Melodrama 'Loveless' sounded a bit more upbeat, maybe the maudlin grieving was on its way out? Hell no, it's back baby, and I mean that as a compliment. Grief is annoying and repetitive, and this captures the feeling of cleaning up the champagne glasses, nursing a headache and aware of how stupid the argument you're having is but needing to see it through. It's limited by being just a reprise, but I'm not mad at it. 24. 'A World Alone' – Pure Heroine Fine as an album closer, but ultimately just a lesser imitation of 'Ribs'. 23. 'Big Star' – Solar Power This song is the only one from Solar Power I slightly sing along to and would consider learning how to play. Unfortunately, it gets lost in the endless noodling of soft guitar music and low emotional stakes of the album, and it makes the grief over a dead dog feel sort of ambient. It's decent but I want more from it. 22. 'The Love Club' – The Love Club EP The main song off her EP I repeatedly listened to (outside of 'Royals'); nothing spectacular but it's light and sweet and knowing. 21. 'White Teeth Teens' – Pure Heroine It's a decent song, with a certain quiet anger. It would be better surrounded by different songs to make it feel more cohesive, but there's something aching about the vocals throughout which works well. 20. 'Glory and Gore' – Pure Heroine Musically this song is very listenable. Lyrically paired with the music…it feels like someone putting on a play about bloodlust more than the real thing. Maybe it's supposed to? Whatever, I still like it. 19. 'Perfect Places' – Melodrama As a single, 'Perfect Places' sounds like easily digestible pap that a politician could claim as their favourite song. As an album closer, it's transformed, providing not a perfect resolution but the beginnings of dawn after the hectic and emotional night out of Melodrama. 18. 'Homemade Dynamite' – Melodrama This has a certain soaring quality to it and the intro sounds sinister, which is cool. But I always remain quite aware that this is a song someone has written and recorded; I can't lose myself in it. 17. 'Team' – Pure Heroine Maybe it's the name, but this song does sometimes make me feel like I'm getting told to throw my hands up in the air, which – as she says! – dulls my enthusiasm for it. It's still pretty singable though. 16. 'Writer in the Dark' – Melodrama This one gained a reputation for Lorde shushing everyone at her concerts for singing along with her, but it's a good song! She should've recorded it a cappella, like Tracy Chapman's 'Behind The Wall'; it works best as an unadorned solo line and I can see why she wants to perform it that way. 15. 'What Was That' – Virgin This feels like an echo of Melodrama, which gives one a sense of unease – does Lorde think we only like her when she's taking a scalpel to her insides? Nevertheless, like Melodrama it sounds good and has a pulsating urgency. 14. 'Magnets' (with Disclosure) This one is inseparable from one of the best videos she's ever done, a tiny narrative about affairs and domestic violence revenge plots. The song is a bop too. 13. 'Hard Feelings/Loveless' – Melodrama 'Hard Feelings' is so glum (complimentary). I like how she alternates between barely choking the words out and confessing things in a rapid stream so the other person doesn't have time to interject before you say your full piece. 'Loveless' is fine as its other half, lightly angry. 12. 'Tennis Court' – Pure Heroine The video is fun, and even though the lyrics don't touch on it directly, this song feels like Lorde reacting to the sudden fame brought on by 'Royals'. It's also fun to watch her start a chorus meditating on teen archetypes and let it devolve into 'Let's go down to the tennis court, and talk it up like yeah'. Only teenagers have those stirrings of analysis combined with incoherence! 11. 'Ribs' – Pure Heroine I have to be honest, I like 'Ribs' well enough, but as critic Anthony Fantano said, some of the lyrics on Pure Heroine felt a bit limited topically because of Lorde's age, and 'Ribs' does this musically as well. It feels like nostalgia and longing specifically designed for teenagers, and at age 35 it's not for me. It's still good! We've just got better songs to come. 10. 'Green Light' – Melodrama From the moment the piano slams down, we know something's wrong; we're not exactly here to have a bad time, but Lorde has plainly been riddled with angst and needs to vomit it out. At its best, Melodrama wrestles with the tension of how breakups have a misery and yet a heightened energy, the passion of having loved someone even if it went wrong. I don't know that she fully does want that green light, because staying in that pain seems like a way to hold onto the love. 9. 'Man of the Year' – Virgin Lorde said this is the song she's proudest of off Virgin, and deservedly so. She has merged the stripped back sound of Solar Power with the synthy angst of Melodrama, and in this song it's paying off big-time. The main reasons I haven't ranked it higher are mostly because I find the double-tracking vocals slightly grating and because it turns out 'repeat listenability' was an unconscious criterion for my list, and I'm not always in the mood to have my heart ripped out. Lorde says she's cis but 'in the middle gender-wise', which I can relate to as a femme-of-centre person of woman experience whose gender moves around a lot. Cisness and transness are states of being more than rigid identities, exemplified by the shifts she describes ('I'm a woman except for the days when I'm a man'). Temporary dysphoria isn't as hard as the persistent kind, but it's also quite annoying because – since even DIY trans healthcare pioneers haven't invented shape-shifting yet – it means you can't really take any concrete actions about it, or even fully desire them. You could cut your hair short or get top surgery if you know you might want your hair or tits back again in five years, but not when you know you'll probably want them back in two weeks. Does Lorde relate to what I'm saying? Who knows! She got me to write some stuff about gender! There are times of my life when 'Man of the Yea r' and its video, which may beat out 'Magnets', would've made me sob uncontrollably. It makes me want to ask Lorde if she's watched I Saw The TV Glow yet. She's back! 8. '400 Lux' – Pure Heroine She wrote this at age 17, but feeling ennui that's relieved by going out for a drive in your shitty suburban town with someone you love feels universal. I also love that skidding synth in the chorus. Lovely, sweet song. 7. The 'Girl, So Confusing' Remix (with Charli XCX) When I was 24, a friend texted to apologise for loosely standing me up the previous week. Unused to proactive apologies from men, I cautiously replied that yes, it had hurt my feelings. He wrote back, 'All things aside, I value this friendship and clearly I need to put some effort in myself and send it your way. Coffee next week?' The reason I remember almost the exact wording a decade later is because it literally changed my life and helped me become a stronger person. This song and Lorde's verse is that unexpected relief – oh shit, you do care about me, I'm not a burden? – writ large, combined with pain and anger at a misogynist culture and industry. 6. 'Royals' – Pure Heroine The original article about how racist this song is felt exhaustingly Tumblrite, but it was kind of vindicated when Lorde (as I recall) said in an interview that she was using hip hop beats to critique the genre. We say dumb stuff as teens, but I hated seeing the Labour Party use this song in their campaign, and I wish Lorde would make Winz take it off their hold music playlist. Listening purely to the music, however, it's easy to see why 'Royals' was Lorde's breakout hit. The sparse beat, the crescendos and soaring of the chorus, the bemusement at watching plutocrat consumption patterns, it all still feels as compelling and fresh as when she recorded it. 5. 'Sober' – Melodrama This song starts tense and never lets up its sense of dread, except for a brief loosening in the bridge, perfectly capturing the drunk haziness of thinking that hooking up with your ex again is a good idea. A perfect follower to 'Green Light', reaffirming that we're not here to relax. 4. 'Buzzcut Season' – Pure Heroine This is what Lorde does best: songs that feel wide open and full of possibility and poignance, but also like an ordinary experience you might have with your friends. 3. 'Liability' – Melodrama Using Pachelbel's Canon as a base tune allows some of Lorde's best lyrics to shine through on this track. It's also a perfect comedown after 'The Louvre', the mournfulness of sitting in a dark room and letting your heartbreak permeate your entire, disgusted sense of self; not only am I unlovable, but my friends probably all hate me too. And in Lorde's case, this includes her sense of self as a public figure and product – remember all the 'oh my god, how is she only 17 she's practically a savant' gushing of the early 2010s? The second verse burns an audience who dehumanised her as a genius anomaly among teenage girls. Much of the backlash to Solar Power was because of how unrelatable the themes were to her working-class fans. But one night this very week I was sitting in a deserted carpark having a crying meltdown after a fight with a loved one, and 'Liability' came into my head. Thank u, Lorde. 2. 'Supercut' – Melodrama The music builds perfectly from sparse laments to a banger, the theme is relatable in a particularly vulnerable place, the energy of the song captures both the joy and the pain of toxic nostalgia. Perfect pop tune. 1. 'The Louvre' – Melodrama After looking up 'The Louvre', I feel like I may have misread it for years, interpreting it as about inexorably going back for breakup sex and breakup emotions, when as written it's more about the first obsessive stages of a crush. But all throughout 'Homemade Dynamite', I'm waiting for those opening chords of 'The Louvre' to start. The music swells and pulsates and feels open and expansive but never quite releases the tension; the spoken-word bit shouldn't work but somehow completely does. 'Blow all my friendships to sit in hell with you' at once feels startlingly original and deeply familiar. Can you hear the violence? So far, 'The Louvre' is Lorde's best song.
The Spinoff
4 days ago
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Jacinda Ardern steps back into the global spotlight
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