Lorde's mindset is revealing on ‘Hammer’, which opens up the universe of ‘Virgin’. “I might have been born again / I’m ready to feel like I don’t have the answers,” she sings amidst industrial bursts of cold synths. Despite being perceived as wise beyond her years, it feels as though Ella Yelich-O’Connor never truly explored the hubris of youth and innocence, even though she was only 17 when her debut album was released. In her fourth LP, however, O’Connor delves deeply into that relatively unexplored territory. Her previous album, ‘Solar Power’, was nearly a misstep. While it had its highlights, the sun-drenched recordings lacked the quintessential Lorde essence when examined closely. The sunlit, carefree persona of that phase felt more like an imitation — an unusual sensation for someone typically so authentically herself. The vibrant remix of ‘Girl, so confusing’ by Charli xcx, which surfaced during last year’s brat summer, demonstrated that she still possessed her edge, addressing the treatment of female artists in a single impactful 40-second moment. “It’s you and me on the coin the industry loves to spend,” she declared, shattering the fantasies that both she and Charli had fallen victim to. This well-known exchange seems to have renewed Lorde’s confidence, fueling her creative spirit.
The tracks on ‘Virgin’ make an immediate impact. There are no layers to uncover; the arrangements are stripped down and stark. In search of the sound that would complement her candid lyrical themes, Lorde found that high-end recording studios didn’t meet her needs—what she required was a gritty backroom with producer Jim-E Stack, where the sonic richness emerged. This is evident in the driving strings of ‘Shapeshifter’, resembling a symphony’s elements set to a Burial beat, and the auto-tuned a cappella of ‘Clearblue’ (“After the ecstasy / Testing for pregnancy / Praying in MP3”).
The lyrics vividly capture scenes using simple language, often encapsulating raw everyday moments and fleeting thoughts as she scrutinizes gender dynamics. From the liberating expressions of ‘Man Of The Year’ like “Swish mouthwash / Jerk off” to the yearning to be a “grown woman in a baby tee” on ‘GRWM’, this bouncing energy propels the album—sexuality plays a significant role as well. The reference to the Pamela Anderson and Tommy Lee sex tape in ‘Current Affairs’: “On the boat it was pure and true / Then the film came out,” shows her voice mourning the loss of innocence as a manipulated sample reverberates. It forms a rich tapestry of references to navigate.
Furthermore, just as she begins ‘Hammer’, no answers are offered. ‘Virgin’ centers around a series of moments depicted through captivating melodies and thrilling production that transport listeners from minimal soundscapes to vibrant spaces and back again. It’s a refreshing restart that delivers an impressive array of songs. One wonders if lines like “Since I was 17, I gave you everything / Now we wake from a dream” are directed at a lover or a fan. The tracks here are set to remain on Lorde’s setlists for a considerable time, from the joyous ‘If She Could See Me Now’ to the infectious, restless rhythm of ‘Favourite Daughter’. It’s an exhilarating comeback that realigns Lorde’s trajectory toward the stars.
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An exciting resurgence that realigns Lorde’s path towards stardom.