Lorde: Virgin Album Review | warungku – Warungku Terkini

Those experiences she’s after are intensely physical, though not as glamorous or easily aestheticized as you’d expect from a pop artist. Twenty seconds into opener “Hammer,” Lorde utters a word I’d wager has never been heard in the Hot 100—“ovulation”—and follows it up with “Some days I’m a woman/Some days I’m a man,” a striking, if uncharacteristically blunt, subversion of biological essentialism. On Virgin, her singing is visceral and sometimes—there’s no other word—orgasmic. Her relationship to her own body is complicated by her history of disordered eating, which she references freely across the album. But in her telling, living in a human body is also sublime (“The mist from the fountain is kissing my neck”) and cathartic (“I rode you until I cried”). And it’s abject: It’s cum on your chest and acid reflux from throwing up and peeing on a stick because you might be pregnant.

That last vignette comes from “Clearblue,” a spare swirl of vocoder melody à la Imogen Heap. It’s all Lorde’s voice, words running across her tongue like ribbons curling against a blade as she recounts a pregnancy scare that blurred the boundaries between intimacy and independence. The incident passes, becoming a precious reminder of her own vitality; the test a relic, lost to the trash. But the topic of motherhood remains potent. The presence of Lorde’s mom, the poet Sonja Yelich, is felt across the album—particularly on “Favourite Daughter,” a bubbly number where Lorde imagines her own career as the fulfillment of her mother’s ambitions. Lorde’s choice of album cover, too, is meaningful: Heji Shin, the photographer who X-rayed her pelvis, is perhaps best known for her raw images of crowning newborns. Documents of the grotesque and generative potential of the human body, they can also be read as metaphors for the bloody labor of creativity.

Now 28, Lorde can’t be neatly mapped on the continuum of girlhood to womanhood to motherhood. This is the consequence of being known as a perennial wunderkind, a sage since 16, and now also a sort of mother to her dozens of musical descendants. (She calls her fans her “kids,” too.) She gets at this state of multitude on “GRWM,” declaring herself “a grown woman in a baby tee”—an objectively dumb lyric that she’s just confident enough to pull off. The production here, as on much of the record, is minimal—a rattling beat and some synth stabs, adding muscle but not bulk and pushing Lorde’s voice and words to the foreground.

It’s long been her writing that telegraphs Lorde’s capital-A artistry. Where someone like Charli XCX is keen to move culture, and Addison Rae is keen to put on a good show, Lorde is happy to sweat it out in the Notes app. The music’s job, it seems here, is mostly to not get in her way. “Shapeshifter” is a high mark, a lovely bit of text painting that starts with a skeletal garage beat, shaded in gradually until it hits you with a full bleed of color. This song moves; it mirrors the state of constant flux that Lorde is singing about. Virgin could stand to have more of that synergy—production touches that are as freaky and unpredictable as the person at their center. Instead, there’s the glitchy vocal fragments and oddball samples that we’ve heard before. There’s so much negative space, it feels almost like a tease, because it implies everything that could fill it.

But that ecstatic sense of possibility—of being many things at once, of following your impulses in all directions, all the time—is the animating force of Virgin. Some would be cowed by the enormity of the prospect. Not Lorde: “I swim in waters that would drown so many other bitches,” she crows on “If She Could See Me Now.” It’s not hard to see why she’s drawn to another stop on the Lorde tour of New York: Walter De Maria’s Earth Room (1977), a Soho loft filled with nothing but 250 cubic yards of dirt. Lorde recreated it in her video for “Man of the Year,” where she binds her chest with duct tape and thrashes about in the soil, tapped into some elemental lifeforce. The original installation has been there for nearly 50 years; nothing grows. The whole thing is pregnant with possibility, blissfully abstract, ripe for interpretation. It feels like a portal to anywhere you want to go.