little bits of melodrama that i enjoy every time
green light: the jumpy piano at the beginning, the way you can hear lorde gasping for breath a little between verses, the low rasp in her voice as she says “brand new sounds”
sober: the intake of breath before “oh god i’m clean out of air”, the snarling, thudding beat punctuated by high, angelic “hey!”s and “uh-huh!”s, the way she says this liquor-wet lime, night, lose my mind and distorts it and repeats it throughout the track
homemade dynamite: “behave abnormally!”, the stutter in “d-d-dynamite”, the delicate, crystalline way she says “broken glass sparkling / i guess we’re partying”, now you know it’s really gonna blow and then the whispered “boom”!
the louvre: the soft guitar at the beginning, the way she says “ovahboard”, can you hear the violence???!?!, the music cutting out when she says “broadcast the boom, boom, boom…”, the way you can hear the parenthesis in (still i fall), nothing WRONG with it superNATURAL!!! down the back - but who cares - still the louvre. :)
liability: the soft recorded conversation at the beginning, the way you can hear her shaky intake of breath after “the big mistake of dancing in my storm”, the way she repeats e-e-everyone, how she changes the last line in concert to you’re all gonna watch us disappear into the sun
hard feelings/loveless: “go back and tell ‘em”, the SNAPS, the whirring rushing sound before i remember the rush, the snaps!!!, the swirling beat behind hard feelings and the way she spits three years loved you every single day and then the softness and strings behind how we’d drift buying groceries. the little crackles of sound in your ear during the transition into loveless and the hollow liquid-sounding beat. the sweetness in guess what, i like that!
sober ii (melodrama): how she drags it out: melodraaaama. the strings the chorus of a million voices in evening passes / champagne glasses, the murmuring voices very quiet in the background of the song.
writer in the dark: the way her voice creaks and stretches around the piano, how you can hear the ‘k’ break on ‘dark’. every single syllable in pseudoephedrine. the way her voice layers and amplifies on i am my mother’s child / i’ll love you til my breathing stops.
supercut: the quick, fast repetition: in your car the radio up in your car the radio up. the way the piano sounds a little bit like the piano in green light. the quiet ooh-ooh-oohs in between lyrics. her voice echoing in my head (in my head) i do everything right (in my head). her scream after wild and fluorescent come home to my HEART and then the dizzy careening outro
liability (reprise): the jumbled fragments of liability knitted into something new. a little much for me - what you gonna do? the contrast between “you wanted something that we offered” / “all the things i offer you”. the way she lingers over but you’re not what you thought you were. the quiet, quick murmur at the end - you leave.
perfect places: every night! i live and die!! (tch tch)! the way she says i’m nineteen and i’m on fire. the contrast between the upbeat party sounds and the lyrics we’re young and we’re ashamed. the way she easily, methodically suggests let’s kiss and then take off our clothes. what the FUCK are perfect places anyway
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