Given how it's winter in NZ right now, they may have shot that video 6 months ago. Plus when did Antonoff work with who and when? I like how you can get an idea how many takes the video needed by the sand tracks.
Maybe it is, maybe it isn't? I was just saying it's a reasonable reading, whether it's one she intended consciously or not.
I’m not ready for a trip to the beach, but my personal response to the pandemic was that I like staying at home with my wife, family, and closest friends. But, again, I find the “throw your cellphone in the ocean” reading of this odd for a glossy, high-budget, artificial video, designed to be consumed on cell phones, whose viewing puts you about as in touch with real nature as does watching Elvis cavort in a soundstage simulacrum of nature in Blue Hawaii or Fun in Acapulco. To me, this is as much of a meaningful statement as the recent Snoop Dog commercial of him pitching Corona beer on the beach. Obviously that sort of imagery never goes out of style, but it’s not a profound statement, and that we have recently experienced the pandemic doesn’t make it any more profound to me.
"I made everything with friends here in New Zealand. My best mate Ophelia took the cover photo, lying on the sand as I leapt over her, both of us laughing." Lorde also mentioned how she reunited with "Royals" music video director Joel Kefali to create a "cinematic universe" for Solar Power. Of course, she also worked with Grammy-winning producer Jack Antonoff on the single, which includes backing vocals from Clairo and Phoebe Bridgers.
I'm so ready for something that doesn't care whether or not it's a profound statement, that doesn't tie itself in knots about its self contradictions, that doesn't worry about anything. And I'm always ready for a trip to the beach. Can't always do it -- with the extreme demands on my time, and especially over the last 15 months with the extreme pandemic related work pressure and all emergency all time time atmosphere I've been operating in. In fact, it probably was the first summer in my life I never actually did go to the beach, even for an afternoon. I'm ready for this record. And I bet I'm not alone, even if we're only talking about a metaphoric romp in the sand and splash in the waves. It's OK, you can take your wife and your family with you.
It’s certainly a different presentation of herself than how she presented herself in her breakthrough video: If people find this new video and the upskirt photo on the single cover some sort of profound artistic statement, who am I to argue? But where, in “Royals,” she sang, But every song's like gold teeth, Grey Goose, trippin' in the bathroom Bloodstains, ball gowns, trashin' the hotel room We don't care, we're driving Cadillacs in our dreams But everybody's like Cristal, Maybach, diamonds on your timepiece Jet planes, islands, tigers on a gold leash this video now revels in the jet planes and islands/partying at Coachella vibe. She’s certainly free to contradict herself and switch it up and embrace the “luxe” lifestyle and imagery she once mocked, but this doesn’t do it for me. Obviously, it’s struck a chord with some people weary of the pandemic who find this to be a perfect summer single that represents some sort of needed healing for the planet. Party on, Garth.
I don't think she ever commented on Tony Visconti's confirmation about Bowie writing and recording his parts for a studio duet with Lorde in 2015. Obviously Lorde did the 2016 BRIT awards with Bowie's 2004 touring band.
I did not get that vibe at all from the new video. In fact, I was left with a sense of dis-ease; something is off in the world she created in that video and I think it was purposeful. It felt like the island on the Wicker Man or the tribe in Midsommar (great flicks btw)
I like it! From The Guardian: Lorde’s comeback single is a lesson in letting pop stars take their time.
Mostly right on both counts. Slight disagreement though in that her previous popularity was fleeting. It was almost completed driven by one song, "Royals." Then the Grammy Awards made it seem as if she'd arrived. She did but just didn't stay. This strategy has been employed for decades. A wholesome female solo vocalist star receives a sexed up makeover. This includes Olivia Newton-John, Sheena Easton and Nelly Furtado, and probably others. It usually results in an artificial bump in popularity. The downside is that the career never recovers after the sudden drop that inevitably follows. In this case, it's doubtful that there's still much of a following of Lorde fans to care much.
Phoebe Bridgers and Clairo on the backing vocals. The vocalizations and lyrics are what I've come to expect from Lorde but the driving acoustic guitars and upbeat atmosphere are new and extremely welcome. Most anticipated album of the year, for me!
I’ve never got the feeling that Lorde was ever an artist that was trying to desperately recreate the success of ‘Royals’ anyway. I’m not saying she wouldn’t love another massive hit of course (who wouldn’t), but she’s never been an artist like Swift or Grande who has constantly pumped out tunes that are clearly designed to try and top the charts, more-so I’ve always got the feeling she just focuses on making the music she wants and takes her time to enjoy the fruits of her labours (evident by the fact she’ll put out music then, tour aside, go quiet for 3-4 years). And it’s not like ‘Melodrama’ was without success either. It still topped the charts in a number of territories and reached the top five in many others (funnily enough ‘Melodrama’ did better than the EP and album that contained ‘Royals’ in the US), winning a Grammy nomination and making into many, many end-of-year lists. No ‘Royals’ for sure, but a failure hardly. Irregardless, her influence still continues on the younger generation of musicians years after the peak of her commercial success. One of the biggest artists of the year so far, Olivia Rodrigo, has cited Lorde as one of her biggest inspirations.
