Melodrama

Even though I'm a metalhead, I do listen to other genres. That being said, something about Lorde's music I absolutely love. It's kinda dark, dangerous, and just plain fun. Especially when I need a break from listening to Metal, I'll put on some Lorde and especially with this album which she wrote while going through a nasty breakup and I suddenly don't feel alone having gone through far too many nasty breakups myself. I highly reccomend this, because not all music needs to be Metal in order to ROCK!!

This is an incredible album. Lorde sets up the album spectacularly with Green Light. This is a story about a young girl who realizes her relationship is doomed and she knows she needs to move beyond it. It tells the story with both specificity to Lorde and the life she lives, being Lorde but more importantly translates into others still finding themselves in the lyrics and empathize and emote along with Lorde. This is an album with fantastic production. A lot has already been said about The Louvre, but this track in particular stands out with Flume's masterful production creating a sonic temple to the sounds that dominate not only radio currently while simultaneously sounding futuristic. I recently had the pleasure of seeing Lorde at Bonnaroo. I made several friends not miss her set and despite not being fans beforehand, found themselves going through emotional peaks and valleys as the set progressed, they ended up crying during Liability.Dismiss this album if you will but the reality stands that this album cements Lorde's status as a career artist who isn't going anywhere anytime soon.

Lorde is one of the greatest songwriters of her generation and this album doesn't disappoint. The quality is great!

Great album and cd. Came earlier today, in great condition, and on time! I’ll admit, it skips a little sometimes but it could be because I’m playing it off of a older CD player. But overall, I highly recommend! Totally worth the price.

This is a great album. Some of the early reviews of the pressing on this site made it seem like ordering this vinyl was a bad idea, because none of them seemed to play well. That does not appear to be the case with every pressing of the album as the copy I received played extremely well with the only "sound" other than the music being a few soft pops/clicks in between songs, which I don't consider to be a defect. While I am sure that among the thousands of copies of this record there are a few bad apples, as reflected in the unhappy reviews, do not let that deter you from getting this wonderful album on vinyl.

I'm so glad I decided to pull the trigger on this record. It sounds great and it was packed very nicely.

I'm giving this album 4 stars for the couple-of-songs on it I really enjoyed plus Lorde's bold concept of a double-take on her romance's rise/fall.The album becomes enjoyable for me at the third from last track, "Supercut."Up to then, I don't hear any conviction, though I know lots of people went crazy over this disc, showering it with five-starred reviews. No doubt it has great appeal, and there's more to it than what I got out of it. I might go back to it later on and, who knows, find a full set of songs I like.For now, I haven't found anything that rocked me or brought me the slightest thrill until "Supercut," in which suddenly Lorde's conviction back."Supercut" rocks out with headlong, corybantic abandon. The next cut, "Liability (reprise)," is the musical, emotional culmination and center of the album. It sounds like a lot of Lorde went into it, with her finally surfaced here after having been submerged under water from the opening track.The preceding songs-- "Green Light," "Sober," "Homemade Dynamite," "The Louvre," "Liability," "Hard Feelings/Loveless," "Sober II (Melodrama)," and "Writer in the Dark" are super-sounding, and fun for the ears. Very well executed. But I don't see how they can move or rock you except at an abstract layer. They are the sound of Lorde trying out new things with a new producer, and it's excruciating. I don't hear that she's into these tunes at all. Sounds like she's being force-marched. "Green Light," first song on the album, signals a go-ahead to a crack-up, with lots of glorious teen-love highs and teen-low misery in between. "That green light. I want it." Fine.Until "Supercut" arrives, these first muddled tunes endlessly debate with themselves about what was going on in the romance. Was it you? Was it me? Did I love you? Did I love me? Did anyone love anyone?"Liability" is cry of dismay for all the harm fame has caused, with a self-pitying flavor. Ditto the faux-claims to transcendence that seek to eke-out a triumph from the psyho-emotional crash-sites marked by the songs"Hard-Feelings (Loveless)," "Sober II (Melodrama)," and "Writer in the Dark."Once to "Supercut." the artist takes a panoramic sweep over the foregoing romance that was, that dazzling legendary burnt-out, long-gone gambol with the gods of teenage tenderness."Supercut" cuts to the chase:"I'm someone you maybe might loveI'll be your quiet afternoon crushBe your violent overnight rushMake you crazy over my touch"Til it comes down ,finally, to:"In my head, I do everything right,In my head, I forgive and don't fight."The phrase "Forgive and don't fight" repeats over and over as the song winds forever toward a close, moving out deeper and further down into electronic static on a surging, receding surf fade-away."Liability (reprise)" has real soul, and it supplies ravishing Lorde harmonies to deliver the only meaningful moment of the whole Melodrama. As she sings to, seemingly a mirror, redemption showers back in gratitude.Then comes the finale, "Perfect Places" a sarcastic paen to the "loveless generation." The wham-bang, jangling, slight-return of "Perfect Places" whispers sweetly and devoid of sincerity, "Please, another round of poison for me." (That said, the song's lyrics aren't without poignancy; it's a well put together production with a good melody.)(Of some interest, in terms of pure pop-artist dialoguing, is how Lana del Rey, who always casts wide a sin-fin of allusions, seems to allude in her song about the Hollywood Sign, in "Lust for Life," to Lorde's "Perfect Places" and "Green Light": while, in the meantime, Lorde alludes to "Ultraviolence" in the opening chords of "Melodrama.")030320 Update-- I went back and listended to this the other day, after much time had passed. I have a higher opinion of it now. The electonic sound concepts on it are wonderful and are a step forward from Lorde's first album. "Supercut" and "Liability" still stood out for the reasons I mentioned, the latter song being tops, I think. She is missing a great song-writing and multi-instrumentalist-musician-collaborator without Joel Little, and in the song quality shows.Album number one sound so brilliant because of the two of them. Still, Lorde's awfully good on this record.

I love her voice. Her range is amazing and Crystal clear! Just beautiful.