New Zealand singer-songwriter Lorde made her last official release in 2017 with the acclaimed album “Melodrama”. Four years later and with countless promises of a new era, the artist made a glorious and surprising comeback to the limelight today, June 10, with the unexpected release of “Solar Power”, debut single from his third studio album of the same name.
For those who were already following the singer’s still young career – or at least who knew his most famous songs, like the award-winning “Royals” – we know that one aspect of his aesthetic is the unpredictability and the total denial of the status quo of the phonographic scene (which is why it is almost impossible to place it in a musical genre). Decorated as ‘the future of music’ by the legendary David Bowie, Lorde fluctuated from dream pop to pop art as she created a unique identity that would serve as the inspiration for several other names, including Billie Eilish and Olivia Rodrigo, who have already expressed admiration for the work of his colleague.
For these reasons, it’s no surprise that the new song is different from what it has already presented to us. Now, she even decides to move away from the usual tributes to Billie Holiday and Fleetwood Mac to embody a contemporary and nostalgic version, at the same time, of George Michael, plunging headlong into the pop-funk of the years 1990 without losing the hand of the mainstream forays into dance and nu-disco. More than that, the production, which is in charge of both her and Jack Antonoff (responsible for some of the best albums of the century and the singer’s longtime collaborator), mentions the stylized and deliberately affected whim of French composer Bruno. Coulais and he even widens the references to the dissonant brand of Lucio Battisti.
The anthemic song also leaves nothing to be desired regarding the narrative that matters: celebrating the summer season, with all the exuberance of colors (acid green, aquamarine) and a sensory exhilaration of what this vibrant time represents, not just for the vibe of the track, but perhaps for the sensitive and mature moment that Lorde finds himself in. And make no mistake: the familiar progression, which explodes in an enveloping delirium of optimism, is the icing on a cake that has been baked with care and attention for a long time – and which serves as an impeccable opening to a promising era. .
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