“I believe that putting the deepest parts of ourselves to music is what sets us free,” Lorde declared in an email to fans announcing her fourth studio album, “Virgin.” Daring and peculiar, Lorde has finally returned with a new masterpiece.
It is no secret that Lorde gives it her all for each album she makes, separating the release of a new project to every four years. At just 16 years old, she released her first album, “Pure Heroine,” which cemented her place in the industry with shockingly specific lyrics on the teenage experience and production that wraps around listeners like a comforting embrace. Notably, the most infamous song from that album, “Ribs,” discusses the bittersweet nostalgia of growing up and the anxiety of approaching adulthood, encapsulated by warm synths and a rush of dreamy house-influenced sound.
Four years later saw the release of “Melodrama,” a flawless album that many would describe as Lorde’s magnum opus. “Melodrama” is a demanding piece of work, focusing on similar themes of growing up while also adding elements of heartbreak, solitude and self-discovery stemming from her first break-up. In her third studio album, “Solar Power,” Lorde focused on reconnecting with nature and finding solace in the natural world. Here, her sound is laid-back and peaceful as she produces a temporary escape from modern anxieties, such as social media and the pressures of being in the public eye.
I believe it is important to understand Lorde’s previous works before unlocking “Virgin.” The modern Lorde is an accumulation of her past works, crushing and squeezing itself until every part of her being has been challenged and self-examined. An X-ray of a pelvis with a visible IUD is how Lorde decides to picture “Virgin” on the album cover: slick, clear and raw. “Virgin” is a chef-d’oeuvre of creation and self-discovery. The X-ray demonstrates Lorde’s commitment to this album and era of her life—that is, being fully transparent. The cover is strange and distinctive, but so is she. Audiences are drawn to Lorde’s quirkiness and transparent flaws; she is not afraid to be bold. Many of the lyrics on “Virgin” are jarring and bizarre, but all remain truthful to who the modern Lorde is.
The first song on the album, “Hammer,” begins with the beating sounds of an MRI scan, resonating as though Lorde is trying to pierce immediately into the listener’s mind. To Lorde, “Hammer” is an “ode to city life and horniness”; it is about letting go and realizing you cannot have the answers to everything. The sound is undeniably pure, and Lorde releases herself emotionally in a throbbing rush. On this track, Lorde also alludes to her gender exploration journey, a prevalent theme throughout the entire album: “Some days I’m a woman, some days I’m a man.”
The next song on the album, lead single “What Was That,” sees Lorde return to her previous “Melodrama” sound that is marked by crashing synths and a shimmering, confident energy. “What Was That,” conceptually, is an homage to New York City. The music video features Lorde riding around the city on her bike and dressed in typical streetwear fashion: a white button-down and jeans. At the end of her biking escapade, Lorde finds herself surrounded by fans jumping and dancing in the middle of the iconic fountain in Washington Square Park. Lorde was going to perform a surprise show here to follow the debut of “What Was That,” but in true Lorde fashion, she forgot to get a permit and was shut down by the authorities before the show even began.
“What Was That” is a song you can feel in your gut, distinctly flowing as though you are sprinting through New York streets, wired headphones booming and cigarette haze awry. Lyrically, Lorde discusses the lingering disorientation and regret of a long-term breakup where she struggles to make sense of memories. She captures both the euphoria and disappointment of the relationship, creating vivid scenes such as “MDMA in the back garden.”
The third track, “Shapeshifter,” keeps the momentum of the previous songs alive, as Lorde starts the track with a scream that fades into an anxious, minimalist beat. Lyrically, “Shapeshifter” discusses the complexities of identity, highlighting how Lorde mentally shapeshifts to approach different romantic relationships, preferring shallow connections and avoiding intimacy. The height of the song sees the addition of strings in the production, creating a dramatic, euphoric feeling as Lorde spills her intensities: “I’ll kick you out and pull you in / Swear that you were just a friend / And when it’s all over again / Say I’m not affected.”
Other highlights on the album include the second single, “Man of the Year,” a powerful ballad in which Lorde embraces a shifting and increasingly expansive gender expression. Lorde has described herself as “being in the middle gender-wise” and has become extremely comfortable within the fluidity of her expression. In the music video, she sets duct tape over her chest and tumbles around in dirt, appearing to be captivated within her self-made spirituality. On “Favorite Daughter,” Lorde creates a jumpy, bubbly pop anthem where she reveals her strained relationship with her mother, directly juxtaposing the upbeat tone of the production. Lorde addresses how she feels the need to perform and earn her mother’s love and approval through achieving success.
“Clearblue” removes the instrumentals altogether, consisting exclusively of Lorde’s vocals describing the intense feeling of taking a pregnancy test after having unprotected sex. Here, Lorde is extremely vulnerable, creating an intimate and sensual feeling. Her words are stark and poised; a mere pregnancy test drives home her own liveliness. “Broken Glass” is equally lively and shattering, as Lorde confesses an autobiographical account of her experience with an eating disorder, including the self-destructive behavior that comes with it. Despite the dark themes, the song’s upbeat tempo and the repetition of “It’s just broken glass” offers a glimpse of hope, as Lorde recognizes that this difficult period is not permanent and she can move past it.
The final track of the album, “David,” is a high point. This song is fleeting and animated, seeing Lorde talk through a culmination of the entire album: personal growth, self-realization and empowerment. This is symbolized by both the images of Michelangelo’s “David” sculpture and the biblical figures of David and Goliath. The climax of the song sees the production being completely broken and scattered—a feeling that can only be described as watching the subway speed by, your hair flowing as the intense, warm lights flicker by.
“Virgin” is a vigorous album and can fundamentally be described as Lorde living truly open and honest. It is equally New York City as it is an exploration of self-discovery, creating a clearly unique project that only an artist like Lorde could produce. It marks a personal rebirth and a departure from her precious, carefree persona of “Solar Power.” “Virgin” is messy, but it is also deeply human, which is why I believe it is a quintessential listen of the year. While Lorde begins to embark on her “Ultrasound World Tour”—a theatrical, self-discovering performance that features moments of intimacy and a stripped-down aesthetic—I will continue to fall into the “Virgin” cesspool, rushing through the city streets in an introspective world of my own.