Melodrama is Lorde’s study of being a young woman finding her own conviction in unsteady circumstances. Sometimes, this also involves being single—a breakup and a raucous house party serve as thematic through-lines—but romance is only part of the album’s script. In the difficult, exhilarating course of the record, written largely when Lorde was 18 and 19, her true reward comes with her embrace of self. As a nod to her clearest pop forbearer, her peace is in accepting that she will, sometimes, end up dancing on her own. tiene un sonido hermoso, con unos bajos impresionantes. el side a suena mejor que el side b, éste último no destaca tanto el sonido de las dos últimas canciones. tiene un leve ruido blanco en el fondo, pero no es mucho problema porque casi no se escucha, y la verdad que los bajos que tiene se llevan el protagonismo. noto una gran diferencia con la versión streaming; siento que la producción se aprecia mucho más. uno de mis discos que mejor suena, que más disfruto a la hora de escuchar; es toda una experiencia, lo recomiendo.

The album is interesting — good samples and their combination, the chorus from the multiplied vocals of Lorde sounds interesting. In my opinion, the album is more than pop. I won't say anything about the lyrics of the album — I don't listen to it — for me, the main thing is the voice that Lorde has is good beyond his years. I bought this album to dilute the vinyl music library with more or less fresh pop. In general, I recommend this album release. A3 - Published by: Songs Music Publishing / Wolf Cousins (STIM)/Warner/Chappell Music Scand (STIM). Recorded at Electric Lady Studios in New York, NY, USA and Conway Recording Studios in Los Angeles, CA, USA. Mixed at Mixstar Studios, Virginia, USA. Mastered at Sterling Sound, New York, NY, USA. Vocal production [...] for Suga Wuga Music, Inc. Her percussive delivery, both in her smoky lower register and lean falsetto, cuts sharpest in the bacchanalian bangers. “Sober” folds humid brass into a stutter that lightly recalls her Heroine hit “Royals,” along deft turns of phrase that suggest even in her imbibing, she’s too sharp to turn off self-scrutiny (“Midnight, lose my mind, I know you’re feeling it too/Can we keep up with the ruse?”). She’s a touch self-deprecating in the height of the party (“Homemade Dynamite”) and tenfold pensive as it wears down (“ Perfect Places”). The record’s bittersweet trajectory feels not unlike Yeah Yeah Yeahs’ Fever to Tell, intent on capturing both the carousing and the come-down in one breathless spree. But when it is gone, the rest need not pale by comparison. The same could be said for one’s teenage years, which the 20-year-old Ella Yelich-O’Connor exits so graciously on this album. That formative era is a fraught time for girls, a dizzying span in which they’re most sought for beauty and cultural cachet yet their perspectives are forcefully minimized. Hear a song from a singer who taps their first euphorias, but know it’s merely real adults’ “ fetishization.” Try to understand your ever-changing physiology, then have a porcine politician insist that it’s not yours to protect. And the growing pains feel endless; while it is horrible to be a teen girl who isn’t taken seriously by society, it’s even worse being a young woman unsure what to do with the autonomy that threatens it.