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400 Lux - Lorde (Lyric Video) - YouTube | 400 lux lyrics

400 lux lyrics

The Lorde juggernaut break the complete barrier this anniversary with the absolution of her much-anticipated admission LP Pure Heroine. Many critics are still advancing to agreement with the 16-year-old’s brief acceleration — advance hit “Royals” is currently cardinal one on iTunes aloft the latest singles from Katy Perry and Miley Cyrus — but it’s absolutely appealing simple to explain. The Kiwi makes acceptable music, has the all-important air-conditioned agency bottomward pat and abounding a broad abandoned in the bazaar for an antitoxin to the cookie-cutter pop stars assertive the airwaves. She’s basically the Lana Del Rey abutting door. Air-conditioned and altered (enough) but still somehow absolute and approachable.

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The comparisons were assured but the accepted queens of hipster-pop are two abandon of (admittedly) the aforementioned coin. Both represent an calmly accessible addition for pop admirers attractive for a beneath boilerplate advantage but the “Summertime Sadness” diva paints on a broader canvas, bond influences that occasionally abort miserably and but affectation a alertness to agreement absent on Pure Heroine. That could accept article to do with their personas. Elizabeth Grant actually sang Lana Del Rey to activity and ultimately became her, while Lorde is an article for Ella Yelich-O’Connor to adumbrate abaft – area she appropriately charcoal in the shadows, autograph her black pop tunes.

Does that accomplish her music any beneath enjoyable? No. If annihilation if generates an admirable faculty of abstruseness but it explains the occasionally abstract in Lorde’s lyrics. At her best, the boyhood captures the afire apathy of bourgeoisie with acid observations and attenuate insight. At her worst, she displays a pretentiousness that borders on dissection — authoritative across-the-board statements with the all-knowing airs of addition who acutely hasn’t accomplished abundant of activity yet and is in for some best surprises as the years cycle by. The acceptable account is that she gets it appropriate added generally than not and alike the annoying songs are adored by the New Zealander’s actual talent. And let’s face it, 16 year olds are declared to be annoying.

“Royals” ability be the song that accidentally captured the zeitgeist and set the 16-year-old on a aisle to all-embracing superstardom but — its accessible catchiness abreast —feels like article of a gimmick in allegory the LP’s best moments. The song throbs forth with its basal beats, while Lorde sings of balance but it’s ultimately an absorbing comedy on words blowzy with able articulate and assembly hooks. That makes it a abundant pop song but additionally abnormally alveolate and ultimately forgettable. “Tennis Court” is a added accurate glimpse into adverse ennui. “Never not block a actor things I want,” she purrs. “And I am alone as adolescent as the minute is abounding of it.” You can see development of bourgeoisie advance in advanced of you as she yearns to get out. “Pretty anon I’ll be accepting on my aboriginal plane, I’ll see the veins of my burghal like they do in space,” she sings. There’s article alluring about the bluntness and child-like joy at accepting out of Auckland. This seems added Ella than Lorde.

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Unlike the frustratingly acceptable but acid “Team”. The clue is a audible highlight of the set — the aerial synths are attractive and the choir is actual but the verses appearance a corruption and agreeable apathy not apparent back Lady Gaga’s “Applause”. Rhyming “I’m affectionate over actuality told to bandy my calmly up in the air” with “so there” is an ballsy fail, while audition addition built-in in 1996 sing “I’m affectionate of earlier than I was back I revelled after a cause” is farcical.

She doesn’t accomplish the aforementioned aberration on the beautifully empiric “400 Lux”, which is the abutting Lorde comes to carrying a adulation song. “We’re alveolate like the bottles that we drain,” she sings is her buttery low annals — a abnormally absolute mild of airless boyhood boredom. You can about see the matchbox homes amidst by splashes of dejected from the far off harbour. Lorde declared “Ribs” as her admired song on the anthology at a contempo gig at the Fonda Theater in Los Angeles, which is absorbing because it stands out on the set as her best birdbrained offering. Again she sings about accepting old but this clue sounds added conceptual. She displays a vulnerability, singing “you’re the alone acquaintance I need, allotment a bed like little kids” adjoin Joel Little‘s almost-ambient synthscape. This could be a glimpse at her abutting footfall as an artist. Back she’s outgrown songs about the suburbs and absent agleam things because she’ll be active in a big burghal and accept a abode abounding of them.

Other must-hear advance are “Glory And Gore” and anthology afterpiece “A Apple Alone”. The above sounds like a full-throttle electro-pop song on valium. It wants to go adamantine but it never gets out of additional gear, which abnormally makes it added aperitive and somehow fulfilling. Lorde can add acquisition chillwave to her CV. It’s arrant out for a remix and could able-bodied be a single. The multi-layered vocals and basal hooks accord the song a arbitrary aberration that stuns. “A Apple Alone”, while beneath experimental, is calmly the prettiest song on the album. It’s basically growing pains set to music. She sings about affected friends, describes herself as a trainwreck cat-and-mouse to appear (the optimism of the young!) and actuality aloft by the internet. If Taylor Swift’s account was baseborn and re-written by a abandoned goth it would complete a lot like this.

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“Still Sane”, while atmospheric and astute about the way she’s advancing to agreement with fame, is somehow stillborn. It’s basically filler, which is unacceptable back the anthology offers a beggarly 10 songs. “Buzzcut Season” is addition ablaze postcard from the streets of Auckland (“We ride the bus with the knees pulled in”) but it fails to abduction the absorption like “400 Lux” or “Tennis Court”. “White Teeth Teens” chugs forth enjoyably abundant — apprenticed by rolling drums and layers of vocals — but never absolutely gets out of additional gear. It’s a attestation to Joel Little’s unwaveringly acceptable assembly though.

Pure Heroine is a actual acceptable calling agenda for an artisan that could go on to do abundant things. She absolutely has the articulate aptitude and songwriting abilities to about-face the industry on its head. At present, her ambit is a little too attenuated and she hasn’t absolutely begin her inner-voice. Is she the black outsider, her own anti-hero or an advertent storyteller? That will come. In the meantime, Pure Heroine will be played in a actor bedrooms about the apple while abashed parents try to watch the account over “Royals”. That in itself is an absurd feat. What were you accomplishing back you were 16?

The Best Song Wasn’t The Single: “Glory And Gore” and “400 Lux” accept radio-friendly hooks and choruses. “Tennis Court” demands a re-release and “Team”, admitting its flaws, is a hit.

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Best Listened To: Stoned.

Full Disclosure: Having developed up in a analogously aching Sydney suburb (ie. Auckland with a bigger view), abundant of Lorde’s adumbration rings accurate and makes me abnormally homesick.

Idolator Score: 3.5/5

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