Lorde's third LP, 'Solar Power,' produced by Jack Antonoff, is uniformly gorgeous but curiously low-key.
” by Olivia Rodrigo, starts with a song in which Rodrigo threatens to quit the job she just got and start a new life, far from the soul-crushing experience that is being a young woman reading about herself on social media.
Lorde makes similar promises on “Solar Power,” which she recorded primarily with producer Jack Antonoff, pop’s premiere facilitator of VIP ambivalence: “Goodbye to all the bottles, all the models / Bye to the kids in the lines for the new Supreme,” she sings on “California,” while “Stoned at the Nail Salon” counsels listeners to “spend all the evenings you can with the people who raised you.
What distinguishes “Solar Power” from those other records — another is Clairo’s Antonoff-produced “Sling,” with songs about encountering creeps in the record biz — is that Lorde truly sounds like she’s OK with not having hits.
And though the results are uniformly gorgeous, not-hits are indeed what Lorde has so far reaped: Ahead of the album’s release Thursday night, none of its advance singles were on Billboard’s Hot 100 or the Spotify U.S. Top 50 — a startling turnabout for an artist who spent nine weeks at No. 1 with “Royals.”
Lorde doesn’t use all of “Solar Power” to chew over her disinterest in fame. “Fallen Fruit” addresses climate change, criticizing the singer’s parents’ generation for not working to solve a problem that may now be too late to fix. And “The Man with the Axe” tenderly recounts a relationship with someone who “felled me clean as a pine.
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