If I could only listen to one artist for the rest of my life, I would pick Lorde.
This is a bold statement, considering she only has four albums so far. But I don’t care as much about quantity. Her music is of such high quality, so thoughtfully produced and written and created, that I don’t think I could live a life without listening to it all again.
I would’ve said this proudly before the June 27 release of Virgin, her fourth album. Yet, the continued genius that is Virgin helped to solidify my answer and make me more confident that Lorde’s music will always hold a special place in my heart.
“What Was That” was my first impression of the album and of the Virgin era, released on April 24 as the first single. This song got me through the end of the school year, playing on repeat as I dreamed of the upcoming summer with a similar, wild vibe. As I’ve spent the summer digesting this album and mentally cementing it into Lorde’s discography, I can say that this single remains one of my favorite tracks, rather than being overshadowed by the new ones. Lorde’s voice is infamously unique, and her vocals, while not as classic as those of other artists, have more emotion and feeling behind each syllable in a difficult-to-describe manner.
The track directly after is “Shapeshifter,” which has a different vibe, yet still feels cohesive with the vision Lorde is creating. The production is more prominent, but not so much so that it is the focus of the song—not necessarily a bad thing, just not the case here. The chorus is especially what emphasizes the idea of a “Shapeshifter,” as Lorde sings the refrain “I’ve been the” with various antonyms. My favorite part of the song, however, is the bridge. The production ramps up, and her voice sings with that signature passion.
“Current Affairs” is another song that immediately stood out to me when I first listened to this album. Lorde samples “Morning Love” by Dexta Daps, which I initially thought was just gibberish playing behind the main chorus. This track explores many themes of this album, but my instant attraction to this song stemmed more from the production, once again.
The ultimate track on Virgin is “David.” With melodramatic production and empowering lyrics, “David” has quickly become a fan favorite, deservedly. This track feels like a movie soundtrack, like an epiphany, like finally understanding one’s freedom. Lorde sings, “But I don’t belong to anyone,” as the production gets louder and distorts her voice, sounding sort of like static flickering on and off. It’s difficult to describe, but beautifully done, and undoubtedly the perfect way to wrap up the album.
I had been looking forward to the release of this album since the day Lorde announced it. She does not just push out albums once every year or two to appeal commercially, consequently making her releases more special, valued, and sincere. It may be a while until we get L5, but as always with Lorde, I know it will be worth it for another well-thought-out masterpiece. Virgin carried on the trend of distinct songwriting, vocals, and production that can be found throughout Lorde’s entire discography. With a curated vibe that can be felt more than it can be described, and 11 tracks that explore themes of virginity, gender, and freedom, Lorde has released another album that cements her reputation as an idiosyncratic talent.
