The most controversial opinion that I find true is that Lorde’s “Melodrama” is devastatingly awful and that Arcade Fire’s “Everything Now” is brilliant. Both albums consumed music news this summer. Also, both albums came after really popular previous albums. The artists skyrocketed to success into the critics’ eyes after their first albums and have never exited from the spotlight. The comparison essentially ends there. Lorde’s “Melodrama” seems like an immature demo that conforms to norms of popular music that consumes the radio, which is a drastic shift from “Pure Heroine,” an album that was exciting and innovative. It introduced a new realm of music to me in high school. (I’ll address my disputed stance on Arcade Fire at a later date).

I think that Lorde’s “Melodrama” can be best compared to Haim’s new album, “Something To Tell You,” but only one of these releases received raving reviews. Haim and Lorde both released their first albums in 2013. I was a junior in high school and, let me just tell you, I was proud to be a woman when I heard these albums. Both albums were fresh and powerful. I burned a CD for my car that consisted of “Days Are Gone” and “Pure Heroine” only. Both albums came out of nowhere and took over the music scene. Everyone was floored. It was impossible to stop listening to what these ladies gifted us with. 

Much hype circled the release of the two albums. Four years have passed since the first album and many questions circled around their sophomore album. Mainly, who have these artists become since their first album? In my opinion, both new releases became shells of the previous releases, but only Haim’s album went under criticism. Both albums fail to become fully realized or self-critical, but Lorde was excused for this.

Lorde’s album is incredibly overproduced, almost to the point where it sounds like remixes for an Italian discoteca. “Pure Heroine” was produced to the point of perfection, with minute details and intriguing musical choreography. “Melodrama” feels like an attack. The storm of computerization and abrasive production is unappealing. 

My main issue, however, is that Lorde is 20 years old and the sole subject of “Melodrama” is a boy. As a popular artist for teenagers and younger audiences, she has the ability to create content that is self-reflective. SZA released her album “CTRL” this year as well. She is also a woman in her 20s. While her album’s central focus is relationships, she includes her own thoughts and she presents criticism of modern-day relationships. Lorde isn’t criticizing. She’s supporting jealousy and the mourning of a relationship. It’s a huge step backwards from “Royals,” which criticizes fame. She has essentially become that which she previously criticized.

At this point in music, I believe there are two kinds of successful artists. There are those that criticize the current state of our culture, politics, society, etc. and there are those that provide escapism through music, which is a more broad category. My favorite example of this is Fleet Foxes. Arcade Fire straddles the line between the two sectors in my opinion (One of the reasons why I enjoy the new album). There is a third group of artists, which Lorde belongs in. It includes those that choose to ignore the current state of the world and refuse to take a stance. I take issue with cultural influencers ignoring their ability to address issues.

In my completely critical opinion, Lorde’s new album lacks any redeeming aspects. I’ll probably never listen to it again. Haim and Lorde became fast friends with Taylor Swift following the release of their first album and I can’t help but wonder if that had an incredibly devastating effect on their vision of success in the music industry. I would argue that it there is a direct correlation there, but that might be too hot of a take.