Solar Power (Album)

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    Lorde Steals Her Sunshine Back

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    Lorde’s new album “Solar Power” marks a pivot for the New Zealand singer-songwriter, away from the insular and intimate relationship tension captured on her last album, “Melodrama” from 2017, into a brighter palette and songs about embracing wellness and posi vibes.This is something that can happen when you grow up in public — a rejection of the fixed gaze that stardom imposes on you. For Lorde, it’s meant a long retreat from the spotlight, and an insistence on making music that hews to no fixed idea about what a “Lorde sound” should be.On this week’s Popcast, a conversation about this sunny phase of Lorde’s career, the ways pop stardom can dull a creative person’s edges and what it means to choose to move away from the expectations of superstardom.Guests:Joe Coscarelli, The New York Times’s pop music reporterLindsay Zoladz, who writes about music for The New York Times and others More

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      Lorde Opts Out on the Provocatively Subdued ‘Solar Power’

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      The singer and songwriter trades the sonic dynamism and moodiness of her 2017 album “Melodrama” for sun-soaked self-assurance on an LP that doesn’t always come into focus.Eight years ago, the New Zealand pop singer-songwriter Lorde’s breakout hit “Royals” arrived with a seismic rumble and an observational critique: “Every song’s like ‘gold teeth, Grey Goose, trippin’ in the bathroom, blood stains, ball gowns, trashin’ the hotel room.’”For all its eye-rolling, refusenik attitude, the implicit joke was that “Royals” was in some sense one of those everysongs, too, lip-syncing along to the same sentiment it was rejecting. After all, that hook was one of the catchiest parts of the song, underlined by Lorde’s signature, soon-to-be-ubiquitous multitracked self-harmonies.Eventual accusations that “Royals” was moralizing about hip-hop culture did not necessarily take into account the fact that it was paying studied homage to it — woven into the sonic DNA of the song’s low-blood-pressure, 808-heartbeat. Lorde’s music is often idiosyncratically personal, but it also speaks from the perspective of the royal “We.” Something that has always kept her point of view from feeling didactic — even if it has occasionally made her intentions feel a little muddled — is the way her music blurs the line between social commentary and self-own.In a similar spirit, on the third track of her provocatively subdued third album, “Solar Power,” Lorde declares in her looping, vocal cursive, “Don’t want that California love” — this on a song that explicitly references Laurel Canyon folk, the most well-known Joan Didion essay and Quentin Tarantino’s Los Angeles pastiche “Once Upon a Time … in Hollywood.” Once again, it takes one to know one. “It’s all just a dream,” Lorde gently chides the Coachella-era flower children, on a weightless, twinkling song that sounds suspiciously like one.Earlier this summer, when Lorde first released the album’s breezy title track, some listeners who had expected a sound similar to her bruising, resilient 2017 triumph, “Melodrama,” were left wondering if the 24-year-old known in civilian life as Ella Yelich-O’Connor was kidding. Was this a sendup of influencer culture or a music video explicitly designed as a carousel of Instagram screenshots? How could someone who’d previously made an emotionally operatic 11-song concept album about running into an ex at a party suddenly toss off a line as carefree as “Forget all of the tears that you’ve cried, it’s over”?“Solar Power” and its subsequent singles, “Stoned at the Nail Salon” and “Mood Ring,” make more sense within the context of the album, thanks largely to the vivid scene-setting opener, “The Path.” Atop a murky guitar, Lorde presents a series of impressionistic snapshots of her post-“Royals” life: Attending the 2016 Met Gala in a cast, swiping a fork as a souvenir for her mother, “supermodels all dancing ’round a pharaoh’s tomb.” Elsewhere, she recalls the life-changing moment “when Carole called my name” (as in, Carole King announcing “Royals” as song of the year at the 2014 Grammys) and admits, “I’ve got hundreds of gowns, I’ve got paintings in frames and a throat that fills with panic every festival day.”With the plunging swoop of chorus on “The Path,” though, Lorde suddenly rejects the notion that anyone present for such surreal, celebrity-studded scenes — including herself — can tell the average person how to live their life. “If you’re looking for a savior, well, that’s not me,” she sings, her lush stacked vocals this time highlighting the line’s unapologetic defiance.Lorde, though, is hardly alone in this sentiment. It is somewhat remarkable to consider how many pop albums of the past year have taken up the sometimes-debilitating stress associated with modern-day fame as their main theme: Billie Eilish’s “Happier Than Ever,” Clairo’s “Sling,” and Lana Del Rey’s “Chemtrails Over the Country Club” all chronicle their creators’ burnout and consider, to varying degrees, packing it in and quitting the pop game forever. (A similar conversation has been happening with young women in the sports world, too.) It is perhaps not such a coincidence that three of these four albums, including “Solar Power,” were produced mostly by the seemingly busiest producer in the music industry, the girl-pop-Zelig Jack Antonoff.What keeps much of “Solar Power” from really taking root, though, is that most of these songs are written from the perspective of an enviably serene person snugly on the other side of that struggle. “Dancing with my girls, only having two drinks, then leaving/It’s a funny thing, thought you’d never gain self control,” Lorde sings blithely on one of the album’s more cloying numbers, “Secrets From a Girl (Who’s Seen It All).” At times, “Stoned” and the otherwise incisive “The Man With the Axe” depict personal growth and maturity as a universal footbridge that one decisively crosses once and for all around age 21, rather than a messy, ongoing, lifelong process of stops and false starts. “I thought I was a genius,” she reflects on “Axe,” “but now I’m 22.” At least wait until Saturn returns, Lorde!Make no mistake, amber is the color of her energy, at least at the moment. The mood board of her career peak, “Melodrama,” though, contained a whole kaleidoscope of color, and it’s that wonderful album’s sense of contrast and sonic dynamism that’s missing the most here. Every song on “Solar Power” pulls from a similar and finely curated aesthetic — early 2000s “CW”-theme-song pop; sun-drenched ’70s folk; just a pinch of Kabbalah-era Madonna — and rarely draws outside those lines, let alone picks up differently hued crayons. Name-dropped proper nouns too often feel like a pile of signifiers one step away from being shaped into sharper observations. Even the songs that most directly skewer modern-day wellness culture (the spiritual satire “Mood Ring,” the devilishly emasculating “Dominoes”) would not exactly be offensive to the ears if they were played during a yoga class’s savasana.Perhaps the most stirring moments on the album come toward the very end, at the conclusion of the loose, winding six-minute closer, “Oceanic Feeling.” It’s partially a showcase of the striking, near-photographic clarity Lorde can sometimes achieve with her lyrics (“I see your silver chain levitate when you’re kickflipping”) and a kind of guided visualization of an eventual life after pop stardom. The girl who just eight years ago was asking, however playfully, to be your ruler is now singing with a stirring serenity, “I’ll know when it’s time to take off my robes and step into the choir.”Even as it has billowed to consider such lofty elements as water, sun and air, Lorde’s close-miked music has retained such a careful intimacy that, at times, you can still actually hear her smiling. But like a beaming Instagram photo selectively chosen from a vast camera roll of outtakes, “Solar Power” stops just short of offering a full, varied range of expressions.Lorde“Solar Power”(Republic) More

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      Lorde cumplió con su tarea. Ahora vive

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      Fue un fenómeno adolescente por el gran éxito de ‘Royals’ y un álbum que fue aclamado por la crítica. Pero ahora, con 24 años, la música neozelandesa no persigue la fama masiva. Sigue la ruta del sol.Lorde grabó ‘Solar Power’, su tercer álbum, después de tomarse una pausa en la que simplemente se enfocó en vivir.Justin J Wee para The New York TimesPuede ser tentador, tras pasar mucho tiempo con Lorde, preguntarse qué le pasa.Es decir, ¿dónde esconde exactamente los puntos negativos, los defectos, las partes poco favorecedoras de cualquier personalidad que se asoman de manera incómoda, especialmente después de vivir una trayectoria tan extraña como la suya? Nadie que haya sido famosa y agasajada desde los 16 años, podría estar tan bien adaptada. ¿O sí?Ni siquiera se trata de que la cantante y compositora cuyo nombre de pila es Ella Yelich-O’Connor, ahora de 24 años, se presente como alguien especialmente perfecta, segura de sí misma o inmune a las críticas. No es que no tenga dudas, inseguridades, ataques de vanidad, impaciencia o que vea cosas en su celular sin pensar demasiado.Pero Lorde —la humana y la artista— suele ir un paso adelante, de forma intuitiva y emocional, tras haber pensado en su realidad desde la mayoría de los ángulos: cómo le pareció algo, cómo podría expresarlo, cómo será recibido y cómo podría procesar la forma en que fue interpretada. Ese es un conjunto de habilidades que muchas personas que llegan al estrellato como ella —una adolescente brillante de un pueblo pequeño con un éxito arrollador— pueden fingir bastante bien. Pero pocos lo hacen de forma tan convincente.“Sé lo suficiente como para saber que las personas en mi posición son símbolos y arquetipos y que el lugar donde nos encontramos con la gente, en el contexto de la cultura y la actualidad, está fuera de nuestro control, así que intento no preocuparme demasiado”, comentó Lorde recientemente, con la consideración y el zen que la caracterizan, antes del lanzamiento de su tercer álbum.“Es una posición muy divertida”, reconoció. “Es absurdo”.Pero es ese sentido de la perspectiva y la autoconciencia lo que ha hecho que Lorde siga adelante en una industria a menudo implacable. De hecho, grabó un álbum entero sobre la búsqueda del equilibrio.Solar Power, que saldrá a la venta el 20 de agosto, es lo que ocurre cuando una estrella del pop burla al sistema, se desvía de sus extrañas exigencias, deja de intentar hacer éxitos y decide susurrar a sus seguidores más devotos cómo lo logró. Para Lorde, el truco fue tener una vida —una vida real— lejos de todo lo demás. Y también tirar su celular al mar. (Un terapeuta tampoco le vino mal).Tras el reinado de “Royals”, su primer sencillo —que estuvo nueve semanas en el puesto número uno y ganó dos premios Grammy— y su debut con el álbum Pure Heroine de 2013, que fue disco de platino en tres oportunidades debido a sus ventas, Lorde tardó cuatro años en lanzar otro material. En comparación, Melodrama, su segundo disco que fue lanzado en 2017, palideció a nivel comercial pero reajustó las expectativas desmesuradas. Además, la estableció como un fenómeno convertido en autora, lo que le valió buenas críticas y otra nominación a los premios Grammy, esta vez en la categoría de álbum del año. Después, reservó cuatro años para dedicarse a ella.En el camino, Lorde se convirtió en un modelo para la industria, una suerte de cantautora diferente y precoz que construye mundos y abrió caminos para una generación que incluye a Halsey, Billie Eilish y Olivia Rodrigo. Pero Lorde no se quedó a mirar lo que pasaba.“Volví a vivir mi vida”, dijo sobre su pausa reciente, identificándose como “una flor de invernadero, una persona delicada y una introvertida empedernida”, agotada tras más de un año de promoción y gira del álbum Melodrama. “Es difícil que la gente lo entienda”.“Últimamente lo que más me preguntan es: ‘¿Qué has estado haciendo?’”, añadió. “Yo digo: ‘Oh, no, no, no: esto es un descanso de mi vida’. Vuelvo y hago estas cosas porque creo en el álbum”.Lorde juró que no volvería a alcanzar las alturas de su gran éxito, “Royals”. “¿Te imaginas?”, dijo. “No me hago ilusiones. Aquello fue un momento excepcional en la vida”.Jason LaVeris/FilmMagic, via Getty ImagesIncluso ahora, con las obligaciones generadas por Solar Power, Lorde programó unas vacaciones de una semana en la playa con amigos, y aprovechó una entrevista programada como una ocasión para realizar varias tareas, caminando para comprar una bolsa llena de buen queso para el viaje.Sin embargo, durante la mayor parte de los últimos cuatro años Lorde ha vivido como Ella entre la vegetación y el esplendor de los muelles donde creció, en Auckland, Nueva Zelanda, y sus alrededores, trabajando para descubrir sus límites.Una amiga de las amigas que conoció en ese lugar, Francesca Hopkins, dijo: “Todo ese asunto de Lorde no se menciona ni se ha comentado realmente. Probablemente pueda contar con una mano la cantidad de veces que se ha pronunciado la palabra ‘Lorde’”.La cantante también comenzó el proceso de abordar su adicción a internet, inspirada en libros como Pilgrim at Tinker Creek de Annie Dillard y Cómo no hacer nada de Jenny Odell.“Veía que mi tiempo de pantalla llegaba como a 11 horas y sabía que era solo por mirar el Daily Mail”, dijo Lorde. “Recuerdo que me senté en la cama y me di cuenta de que podía llegar al final de mi vida y haber hecho esto todos los días. Y depende de mí elegir, ahora mismo. Así que simplemente elegí”.Al final hizo falta más que eso: el teléfono de Lorde, configurado en escala de grises, ahora no tiene navegador de Internet; no puede entrar en sus aplicaciones de redes sociales (otros manejan las contraseñas); y un amigo codificador incluso hizo que YouTube fuera inaccesible en su computadora portátil. “No he hecho un disco de Jack Antonoff”, dijo la cantante. “He hecho un disco de Lorde y él me ha ayudado a hacerlo y me ha delegado muchas tareas de producción y los arreglos”.Justin J Wee for para New York TimesEn cambio cocinó, horneó, paseó al perro, nadó, cultivó el jardín —en otras palabras, se relajó— mientras esperaba a ver “si ocurría algo más sobre lo que valiera la pena escribir”. Pero resultó que ya lo había hecho, especialmente cuando se entretejía con su existencia actual.En “The Path”, la deslumbrante canción con que inicia Solar Power y que escribió como una especie de declaración de tesis para el álbum, Lorde se describe como “criada en la hierba alta”, pero también como una “adolescente millonaria que tiene pesadillas en las que aparecen las luces de las cámaras”. “Si buscas una salvadora, esa no soy yo”, advierte. No obstante ofrece una alternativa embriagadora: el sol.“Estoy consciente de cómo me mira la gente”, dice Lorde. “Puedo sentir la enorme cantidad de amor y devoción que las personas sienten por mí —y por la gente que está en mi posición— y enseguida quise decir: ‘Yo no soy la que merece tu devoción. Básicamente, soy como tú’”.Y agregó: “Mis chicos —mi comunidad— esperan trascendencia espiritual de mi parte, de estas obras. ‘¡Necesito que Lorde vuelva y me diga cómo sentirme, que me diga cómo procesar este periodo de mi vida!’. Y yo, lo que pienso es: ‘No sé si puedo ayudarte con eso. Pero lo que sí sé es que, si todos miramos hacia arriba, ¡eso nos ayudará mucho!’”.Jugando con el papel de estrella del pop como mesías, abrazó el personaje de líder de la secta en la canción, haciendo proselitismo sobre el mundo natural.Pero Lorde también sabe que estos consejos proceden de un lugar privilegiado, ya que coinciden con algunos de los principios más obvios de la cultura moderna del bienestar (que también critica en el álbum): salir a la calle. Pasar tiempo con la familia. Apagar el teléfono. Salir con los amigos.Lo que evita que Solar Power resulte didáctico o excesivamente simplificado son las letras en las que satiriza sus propias experiencias, basándose en detalles chismosos y rebajando las ideas demasiado elevadas con humor, como cuando interrumpe un frágil tratado sobre el envejecimiento con la frase: “Tal vez solo estoy… drogada en el salón de uñas”.‘Melodrama’ consagró a Lorde como un fenómeno musical que logró la transición para convertirse en cantautora.Chad Batka para The New York TimesLa artista, que antes cantaba con desprecio y desde la distancia sobre la cultura de las celebridades, ahora señala su “baúl lleno de ropa de Simone y Céline” y el tiempo que ha pasado en hoteles, en la Gala del Met, en los Grammy y en aviones. “Tengo cientos de vestidos, tengo cuadros enmarcados”, canta en “The Man With the Axe”. “Y una garganta que se llena de pánico cada día de festival/ que se deshace en honor a la princesa de Noruega”.Sin embargo, alejarse de todo eso, aclara Lorde, simplemente se siente mejor. “Adiós a todas las botellas, a todos los modelos, adiós a los niños que hacen fila para comprar los nuevos productos de Supreme”, añade en “California”, cerrando el ciclo de vuelta a su ethos de Pure Heroine.Lorde sabía que necesitaba un sonido soberbiamente fuera de lo común que se ajustara a su tema y a su sentido de la desconexión. Encontró la estética “twinkly” para Solar Power combinando influencias de los años 60 y 70, como los Mamas and the Papas y los Bee Gees, con artistas de su juventud, a menudo denostados, que representaban lo que ella llamaba “optimismo playero de fin de siglo”: All Saints, S Club 7, Natalie Imbruglia, Nelly Furtado.Alguna vez fiel a la electrónica y alérgica a las guitarras, Lorde solo emplea una caja de ritmos 808 en todo el álbum, en una sección que pretende ser un retroceso autorreferencial. “Definitivamente no hay un exitazo”, declaró sobre sus perspectivas comerciales con una carcajada. “Es lógico que no sea un exitazo, porque ni siquiera sé realmente qué son los exitazos ahora”.Juró no volver a alcanzar las alturas de “Royals”. “Es una causa perdida”, comentó. “¿Te imaginas? No me hago ilusiones. Aquello fue un momento excepcional en la vida”.Sin embargo, ha encontrado un aliado en la experimentación y el agnosticismo sobre Billboard en el productor y compositor Jack Antonoff, con quien también escribió y produjo Melodrama.“Grabas tu primer álbum con una alegría increíble porque no existe nada”, explicó Antonoff. Pero recordó la inminente presión que precedió a la segunda grabación de Lorde, por lo que tuvieron que aislarse para evitar el bullicio, lo que dio lugar a la intimidad que se percibe en Melodrama.Solar Power, dijo, surgió de una renovada sensación de libertad. “El tercer álbum es un gran lugar para hacerlo, para despertar y decir: ‘Realmente amo este trabajo y tengo mucha suerte de estar aquí’. Simplemente vuelves a conectarte con lo que haces. Hubo mucho de eso”.Lorde estuvo de acuerdo. “Sentí que podía relajarme y presumir un poco”, concluyó.“Últimamente la pregunta que más me hacen es: ‘¿Qué has estado haciendo?’”, dijo Lorde. “Yo digo: ‘Oh, no, no, no: esto es un descanso de mi vida’. Vuelvo y hago estas cosas porque creo en el álbum”.Justin J Wee para The New York TimesSin embargo, es en el contexto de Antonoff donde Lorde expresó lo más parecido a la angustia que pudo experimentar. En concreto, se mostró en desacuerdo con un creciente contingente de fans y críticos que meten en el mismo saco el extenso trabajo del productor con otras artistas pop femeninas —Taylor Swift, Lana Del Rey y Clairo, entre ellas—, reduciendo a Lorde a una yegua más en lo que ella denomina, con algo de filo y más humor, “el establo de Jack”.“No he hecho un disco de Jack Antonoff”, dijo la cantante. “He hecho un disco de Lorde y él me ha ayudado a hacerlo y me ha delegado muchas tareas de producción y los arreglos. Jack estaría de acuerdo con esto. Darle esa cantidad de crédito es francamente insultante”. Ella calificó la narración —que también ha incluido especulaciones sobre la vida romántica y sexual de la pareja— de “retro” y “sexista”.“Sé que hay ciertas señas de identidad de lo que hace Jack y algunas de esas cosas me encantan y otras no me gustan. Y las saco a golpes del trabajo que hacemos juntos”, añadió. “Lo digo con mucho amor y cariño, pero me siento como si estuviéramos arreglando una casa juntos y él dijera: ‘¡Mira esta servilleta que he diseñado en forma de dos cisnes! ¡Mira este conjunto de cestas tejidas!’. Y yo le digo: ‘Genial, una por habitación’”.En un ensayo reciente para una actuación en un programa de televisión nocturno, Lorde estaba claramente al mando y atenta a los detalles. Al llegar, Antonoff advirtió que su forma de tocar la guitarra sería “bastante floja”.“¿Qué tan floja?”, respondió Lorde. Más tarde, hizo una pausa al cantar para escuchar con más atención el arreglo. “Lo único que haría sería clavarte un poco más en la grabación”, ofreció Lorde, con la franqueza que otorga una sociedad experimentada.“¡Pero bonito!”, añadió.“Nadie que esté en un trabajo como este tiene una relación como la que tengo con Jack”, dijo Lorde después. “Él es como un compañero para mí. Tenemos una relación. No es una relación romántica, pero llevamos siete años en ella, y es algo realmente único, así que no recrimino que la gente no pueda entenderlo”.Trató de mantener la misma mentalidad para el lanzamiento de Solar Power, dijo, volviendo a la idea de que estaba “muy, muy reconciliada y a gusto con cosas como la percepción del público. Simplemente, hoy en día no me perturba”.“Casi valoro que la gente no lo entienda al principio”, dijo sobre el álbum. “Me deprime un poco cuando sale un álbum y lo reviso muy rápido y miro Genius y leo todas las letras en tres minutos y me doy cuenta de que sé exactamente lo que es y no va a crecer”.“Creo que todavía estoy dando algo que es realmente digerible”, añadió Lorde con una sonrisa de satisfacción, “pero me gusta confundir. Me gusta ser eso para la gente”.Joe Coscarelli es reportero cultural especializado en música pop. Su trabajo busca revelar las maneras en las que se descubren, crean y comercializan las canciones de éxito y los nuevos artistas. Antes trabajó en la revista New York y The Village Voice. @joecoscarelli More

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      Lorde’s Work Here Is Done. Now, She Vibes.

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      She was a teen phenom who followed her hit “Royals” with a critically acclaimed album. But now 24, the New Zealand musician isn’t chasing hits. She’s following the sun.Lorde’s third album, “Solar Power,” was made after a break during which the singer and songwriter simply lived.Justin J Wee for The New York TimesIt can be tempting, upon spending any extended amount of time around the musician Lorde, to wonder what is wrong with her.That is, where exactly does she hide the bad parts, the off-notes, the unflattering bits of any personality that poke out awkwardly, especially after experiencing a trajectory as strange as hers? No one, famous and feted at 16, could possibly be so well-adjusted. Right?It’s not even that the singer and songwriter born Ella Yelich-O’Connor, now 24, presents as especially perfect, or self-assured or immune to criticism. It’s not that she doesn’t suffer from second-guessing, insecurities, bouts of vanity, impatience or mindless cellphone scrolling.But Lorde — the human and the artist — can usually be found one step ahead, intuitively and emotionally, having thought through her reality from most angles: how something felt to her, how she might express that, how it will be received and how she might process how she was interpreted. This is a skill set that many people who become known like she did — as a gifted small-town teenager with an out-of-the-gate smash success — can feign pretty well. But few do it as convincingly.“I know enough to know that people in my position are symbols and archetypes and where we meet people, in the context of culture and current events, is sort of outside of our control, so I try not to fret too much,” Lorde said recently, with characteristic consideration and Zen, ahead of the release of her third album.“It’s a very funny position to be in,” she acknowledged. “It’s absurd.”But it’s this sense of perspective and self-awareness that has kept Lorde going in an often unforgiving industry. In fact, she made an entire album about finding balance.“Solar Power,” out Aug. 20, is what happens when a pop star outwits the system, swerves around its strange demands, stops trying to make hits and decides to whisper to her most devoted followers how she did it. For Lorde, the trick was having a life — a real life — far away from all of this. And also throwing her phone into the ocean. (A therapist didn’t hurt either.)After the reign of “Royals,” her first single — which spent nine weeks at No. 1 and won two Grammys — and her three-times platinum 2013 debut “Pure Heroine,” Lorde took four years to release a follow-up. Her second album, “Melodrama,” in 2017, paled in comparison commercially, but it realigned out-of-whack expectations, establishing the singer as a phenom-turned-auteur, earning her rave reviews and another Grammy nomination, this time for album of the year. Then she hoarded four more years for herself.Along the way, Lorde became an industry blueprint for a sort of world-building, precocious wallflower singer-songwriter, helping to usher in a generation including Halsey, Billie Eilish and Olivia Rodrigo. But Lorde hasn’t really stuck around to see it.“I went back to living my life,” she said of her recent hiatus, identifying as “a hothouse flower, a delicate person and a massive introvert,” drained after a year-plus of promotion and touring for “Melodrama.” “It’s hard for people to understand that.”“The question I’ve gotten a lot recently is, ‘What have you been doing?’” she added. “I’m like, ‘Oh, no, no, no — this is a break from my life.’ I come back and perform these duties because I believe in the album.”Lorde vowed to never again reach for the heights of her breakout hit, “Royals.” “Can you imagine?” she said. “I’m under no illusion. That was a moonshot.”Jason LaVeris/FilmMagic, via Getty ImagesEven now, with the obligations piling up ahead of “Solar Power,” Lorde scheduled a weeklong beach vacation with friends, and used a scheduled interview as an occasion to multitask, walking to buy a tote bag full of nice cheese for the trip.Most of the last four years, though, Lorde lived as Ella among the greenery and waterfront splendor where she was raised, in and around Auckland, New Zealand, working to figure out her boundaries.A friend from home, Francesca Hopkins, said, “That whole Lorde thing doesn’t and hasn’t really come up. I’ve probably said the word ‘Lorde’ maybe like — I can count it on one hand.”The singer also began the process of addressing her internet addiction, inspired by books like Jenny Odell’s “How to Do Nothing” and Annie Dillard’s “Pilgrim at Tinker Creek.”“I would see my screen-time go to like, 11 hours and I knew it was just looking at the Daily Mail,” Lorde said. “I remember sitting up in bed and realizing I could get to the end of my life and have done this every day. And it’s up to me to choose, right now. So I just sort of chose.”It ultimately took more than that: Lorde’s phone, set to grayscale, now has no internet browser; she is locked out of her social-media apps, with others handling the passwords; and a coder friend even made YouTube inaccessible on her laptop.“I haven’t made a Jack Antonoff record,” the singer said. “I’ve made a Lorde record and he’s helped me make it and very much deferred to me on production and arrangement.”Justin J Wee for The New York TimesInstead, she cooked, baked, walked the dog, swam, gardened — chilled, in other words — while she waited to see “if anything else worth writing about happened.” But it turned out that it already had, especially when woven in with her current existence.On “The Path,” the shimmering opening track of “Solar Power” that she wrote early on as a sort of thesis statement for the album, Lorde describes herself as “raised in the tall grass,” but also a “teen millionaire having nightmares from the camera flash.” “If you’re looking for a savior,” she warns, “well that’s not me.” But she offers a heady alternative: the sun.“I’m aware of the way people look at me,” Lorde said. “I can feel the huge amount of love and devotion that people have for me — and for people in my position — and straightaway, I wanted to be like, ‘I’m not the one that’s worthy of your devotion. I’m essentially like you.’”She continued: “My kids — my community — they’re expecting spiritual transcendence from me, from these works. ‘I need Lorde to come back and tell me how to feel, tell me how to process this period in my life!’ I was like, oh, man, I don’t know if I can help you with that. But what I do know is that if we all look up here, it’s going to help you a lot!”Playing with the role of pop star as messiah, she embraced the character of cult leader in song, proselytizing about the natural world.But Lorde also knows that these fixes come from a place of privilege, overlapping as they do with some of the more obvious tenets of modern wellness culture (which she also skewers on the album): Go outside. Spend time with your family. Turn off your phone. Hang out with your friends.What keeps “Solar Power” from feeling didactic or oversimplified are lyrics in which she satirizes her own experiences, grounding it in gossipy bits of detail and cutting lofty takes with humor, like when she interrupts a fragile treatise on aging with the line, “Maybe I’m … just stoned at the nail salon.”“Melodrama” established Lorde as a phenom-turned-auteur.Chad Batka for The New York TimesThe artist who once sang dismissively and from a distance about celebrity culture now notes her “trunkful of Simone and Céline” and time spent in hotels, at the Met Gala, the Grammys and on jets. “I’ve got hundreds of gowns, I’ve got paintings in frames,” she sings on “The Man With the Axe.” “And a throat that fills with panic every festival day/dutifully falling apart for the princess of Norway.”But opting out, Lorde makes clear, just feels better. “Goodbye to all the bottles, all the models, bye to the kids in the lines for the new Supreme,” she adds on “California,” coming full circle back to her “Pure Heroine” ethos.Lorde knew she needed a proudly out-of-touch sound to match her subject matter and sense of disconnect. She found the “twinkly” aesthetic for “Solar Power” by combining ’60s and ’70s influences like the Mamas and the Papas and Bee Gees with often-maligned artists from her youth that represented what she called “turn-of-the-century beachside optimism”: All Saints, S Club 7, Natalie Imbruglia, Nelly Furtado.Once faithful to electronics and allergic to guitars, Lorde employs only a single 808 drum machine on the entirety of the album, in a section meant as a self-referential throwback. “There’s definitely not a smash,” she declared of her commercial prospects with a cackle. “It makes sense that there wouldn’t be a smash, because I don’t even know really what the smashes are now.”She vowed to never again reach for the heights of “Royals.” “What a lost cause,” she said. “Can you imagine? I’m under no illusion. That was a moonshot.”But she’s found an ally in experimentation and Billboard-agnosticism in the producer and songwriter Jack Antonoff, with whom she also wrote and produced “Melodrama.”“You make your first album with an amazing amount of joy because nothing exists,” Antonoff said. But he recalled the looming pressure that preceded the second Lorde LP, which resulted in the pair tucking themselves away to avoid the glare and resulted in the intimacy of “Melodrama.”“Solar Power,” he said, came from a renewed sense of freedom. “The third album is a great place to do it — to wake up and be like, ‘I really love this work and I’m so lucky to be here.’ You just sort of reconnect with it. There was a lot of that.”Lorde agreed. “I felt like I could just chill out and flex a little bit,” she said.“The question I’ve gotten a lot recently is, ‘What have you been doing?’” Lorde said. “I’m like, ‘Oh, no, no, no — this is a break from my life.’ I come back and perform these duties because I believe in the album.”Justin J Wee for The New York TimesYet it’s in the context of Antonoff that Lorde expressed the closest thing to angst she could muster. Specifically, she took issue with a growing contingent of fans and critics who lump together the producer’s extensive work with other female pop artists — Taylor Swift, Lana Del Rey and Clairo among them — reducing Lorde to yet another mare in what she refers to, with some edge and more humor, as “Jack’s stable.”“I haven’t made a Jack Antonoff record,” the singer said. “I’ve made a Lorde record and he’s helped me make it and very much deferred to me on production and arrangement. Jack would agree with this. To give him that amount of credit is frankly insulting.” She called the narrative — which has also included speculation about the pair’s romantic and sexual life — “retro” and “sexist.”“I know that there are certain hallmarks of what Jack does and some of those things I really love and some of them I don’t like. And I beat them out of the work that we do together,” she added. “I say this with so much love and affection, but I feel like we’re doing up a house together and he’s like, ‘Look at this serviette that I fashioned into the shape of two swans! Look at this set of woven baskets!’ And I’m like, ‘Great — one per room.’”At a recent rehearsal for a late-night television performance, Lorde was clearly in charge and attuned to the details. Upon arriving, Antonoff warned that his guitar playing would be “pretty loose.”“How loose?” Lorde responded. Later, she paused singing to listen more closely to the arrangement. “My only thing would be to nail you a little bit more to the recording,” Lorde offered, with the bluntness afforded by a seasoned partnership.“Pretty, though!” she added.“No one who’s in a job that isn’t my job has a relationship like the one I have with Jack,” Lorde said later. “He’s like a partner to me. We’re in a relationship. It’s not a romantic relationship, but we’ve been in it for seven years, and it’s a really unique thing, so I don’t begrudge people maybe not being able to understand it.”She was trying to keep the same mindset for the release of “Solar Power,” she said, returning to the idea that she was “very, very reconciled and at ease with things like public perception. It’s just not rocking my boat these days.”“I would almost value people not understanding it at first,” she said of the album. “It sort of depresses me when an album comes out and I click through it really fast and I look at the Genius and read all the lyrics in three minutes and I realize I know exactly what it is and it isn’t going to grow.”“I think I’m still giving something that’s really digestible,” Lorde added with a smirk, “but it’s my pleasure to confound. I’m down to be that for people.” More