From the sparse facts that I have gleaned from Internet sources surrounding the latest flurry of online blogging buzz on Lorde, I feel safe in my assumptions that it has perhaps come as a startling surprise to the burgeoningly talented chanteuse, but nonetheless a welcome one.
As seemingly from out of nowhere the enigmatic young New Zealander has put out an outstanding debut EP of alternatively creative organically felt alt-pop, that has been gaining rapid support and praise over the past few months, not only by the blogging fraternity but also by her contemporaries.
Taking on the name Lorde, Ella Yelich O’Connor’s meteoric rise as a blogosphere and tastemakers darling has seen Universal Music expediently ink her to their global imprint.
The source of all this warranted whirlwind of excitement stems from the former tentative online release of “The Love Club EP” that has now sharpishly with label backing found itself a more profitable outlet on Itunes NZ.
From a project harbouring an alluring esoteric presence of proficient self-assured vision, Lorde’s “The Love Club EP” delivers an array of sensitised emotive alt-pop gems in gleaming succession from dainty, doe-eyed opener “Bravado”, popular bloggers favourite the stripped back and magnificent “Royals”, alongside my own personal favourites the exquisitely innovative, rhythmically uplifted and expressively worn “Million Dollar Bills” & “The Love Club” culminating in a swathe of ruminatively intense melancholy in the shadowy atmospheric finale “Biting Down”.
We don’t get to hear too often of fresh faced New Zealand talent, but over the past couple of years it sure has seen a notable and exciting eclectic mix of emerging artist talent surfacing from it’s female lead players Zowie and Ruby Frost, now with such an impressively awesome debut setting course, let the Ellie Goulding creative likeness with Marina Diamandis-esque soaring vocals Lorde be counted amongst them.