Lorde knew she needed a proudly out-of-touch sound to match her subject matter and sense of disconnect.
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“Goodbye to all the bottles, all the models, bye to the kids in the lines for the new Supreme,” she adds on “California,” coming full circle back to her “Pure Heroine” ethos. “I’ve got hundreds of gowns, I’ve got paintings in frames,” she sings on “The Man With the Axe.” “And a throat that fills with panic every festival day/dutifully falling apart for the princess of Norway.”īut opting out, Lorde makes clear, just feels better. The artist who once sang dismissively and from a distance about celebrity culture now notes her “trunkful of Simone and Céline” and time spent in hotels, at the Met Gala, the Grammys and on jets.
Playing with the role of pop star as messiah, she embraced the character of cult leader in song, proselytizing about the natural world.īut Lorde also knows that these fixes come from a place of privilege, overlapping as they do with some of the more obvious tenets of modern wellness culture (which she also skewers on the album): Go outside. But what I do know is that if we all look up here, it’s going to help you a lot!”
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‘ I need Lorde to come back and tell me how to feel, tell me how to process this period in my life!’ I was like, oh, man, I don’t know if I can help you with that. She continued: “My kids - my community - they’re expecting spiritual transcendence from me, from these works.
“I can feel the huge amount of love and devotion that people have for me - and for people in my position - and straightaway, I wanted to be like, ‘I’m not the one that’s worthy of your devotion. “I’m aware of the way people look at me,” Lorde said. On “The Path,” the shimmering opening track of “Solar Power” that she wrote early on as a sort of thesis statement for the album, Lorde describes herself as “raised in the tall grass,” but also a “teen millionaire having nightmares from the camera flash.” “If you’re looking for a savior,” she warns, “well that’s not me.” But she offers a heady alternative: the sun.