Melodrama is the perfect successor to Pure Heroine, and is the successful second album that artists should aspire to; an evolution that improves on every aspect of the first effort.

If you’re reading this then you probably already know that I hold Lorde in high regard, and had elevated hopes for this album. Praying for a quality release, I wasn’t let down. I’ve listened to this album non-stop whilst ending my first university year and moving out. I’m happy to finally get a chance to sit down and explain my feelings behind why I already love this album.

Opening with Green Light and Sober, two singles I’ve already covered on WaveByte, we move swiftly onto the third song in the album; Homemade Dynamite. The song is pretty good, despite not as punchy and memorable as the previous singles (though I wasn’t expecting every song from the album to be perfect). Homemade Dynamite is a serviceable ‘third song’ with a catchy beat and fun moments – nothing too special, though. Onto The Louvre, which immediately stands out from every other song on the album for the guitar that underlays each and every one of Lorde’s words. The rhythm of this song is impeccable, alongside the beat. Though, I’m not crazy about the lyrics; “They’ll hang us in the Louvre… Down the back, but who cares, still the Louvre.” Still, an enjoyable song, and no doubt the lyrics will catch onto me at some point.

The fifth song in the album, Liability, is actually the second single to be released by Lorde. Unfortunately, I was unable to cover this at the time of release, which I regret as it is a beautiful song. Not a pop song by a sense, and somewhat out-of-the-box for Lorde, it is a stunning ballad about self-love, with Lorde’s raw vocals punching through the piano that supports her. This is one of my favourites that Lorde has ever produced, and I’m eager to see if she releases any more of these ‘unplugged’ songs. Later in the album, we are treated to Writer In The Dark, another song wherein Lorde is accompanied by a piano and another fine song. I’d love to see more music from Lorde in this mould. Liability is later reprised in the typical Lorde style, surrounded by bass and synth – it’s a fantastic contrast to the version heard earlier in the album, and are both as good as each other.

Hard Feelings/Loveless is an interesting one. Obviously, two songs combined into one (with a fade out, a few seconds pause, and a fade into the section of Loveless), it makes me wonder why these weren’t just labelled as two distinct tracks. Hard Feelings is about four minutes long, with Loveless at one minute and thirty seconds, so I’m at a loss (considering that Liability (Reprise) is two minutes long as well.) Either way, Hard Feelings/Loveless is a decent summer song, even if Loveless is a bit short. It feels like a song that they didn’t want to cut, so was tacked on; I wouldn’t miss it if it were gone.

Onto Sober II (Melodrama), the titular song. A perfect follow up the previous Sober, this might be my favourite song on the album. It’s dramatic, intense, and utilises every aspect of Lorde’s alternative style to its best. The final song, Supercut, is another contender for the favourite on the album. It’s heart wrenching, fierce, catchy, and it fades perfectly into the reprise of Liability. Lorde at her finest.

This album was so close to being brilliant. There’s so many good songs but is let down by one or two. Still, no album is perfect, and it is quintessential alternative pop. I’ll be trying to get tickets to Lorde’s live show in London; she’s not one I want to miss.

4 / 5 Bytes.

Will Wilkins.

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