"The goal for me is to make a body of work that is cohesive, that feels like an album and is something that I'm going to be proud of. When choosing the songs to include on the final track listing, Lorde and her A&R decided to keep it at ten to avoid "filler material." Lorde discussed her objectives with Pure Heroine stating Ten songs were included in the album's final track listing, with around seven or eight tracks not making the cut.
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Lorde wanted to write her own music, and the album's content was co-written with Joel Little. The recording took place in Auckland's Golden Age Studios, a small studio without expensive technology, and was completed in less than a year. Recording for the album was overseen by Lorde and Little, and was described by Lorde's A&R Scott Maclachlan as a fairly short process, with the majority of what Lorde played him ending up on the final edition of the album. Initially Lorde and Little played demos to A&R Scott Maclachlan, in which they would discuss songs, exchange comments and change some aspects of the songs. As with The Love Club EP, Pure Heroine was recorded with producer Joel Little at Golden Age Studios in Auckland. Composition and writingīefore beginning work on Pure Heroine, Lorde stated her intention for her debut album to be a "cohesive" work. Lorde's debut extended play, 2013's The Love Club EP, received acclaim from music critics who compared the EP to the work of Sky Ferreira, Florence + the Machine, Lana Del Rey, and Grimes , and reached number one in New Zealand, number two in Australia where it was certified five times platinum for shipments of 350,000 copies , and twenty-three on the US Billboard 200. She was eventually paired with New Zealand compatriot writer and producer Joel Little and this working relationship clicked almost immediately. Maclachlan told HitQuarters: "Fundamentally I think she understood that she was going to write her own music but would need someone to help with the production side of it." Lorde began writing songs on guitar at the age of "13 or 14". She was signed to Universal by her manager Scott Maclachlan when she was 13 and was initially put together with a succession of different songwriters in unsuccessful attempts to develop her own music. Album DescriptionFrom the age of 14, Lorde worked with Universal to develop her sound and artistic vision.
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See More Your browser does not support the audio element. © Stephen Thomas Erlewine /TiVo More info Born to Die is meant to be appreciated as slippery, elusive pop Pure Heroine seems to hint at the truth.but the truth is, Lorde is a pop invention as much as LDR and is not nearly as honest about her intentions. There is a topical appeal here, particularly because Lorde and Little do spend so much time on the surface, turning it into something seductive, but it is no more real than the studied detachment of Lana Del Rey, who Lorde so strongly (and intentionally) resembles. Where Lana Del Rey favors a studiously detached irony, Lorde pours it all out which, in itself, may be an act: her bedsit poetry is superficially more authentic but the music is certainly more pop, both in its construction - there are big hooks in the choruses and verses - and in the production, which accentuates a sad shimmer where everything is beautiful and broken. Lorde favors a tragic romanticism, an all-or-nothing melodrama that Little accentuates with his alternately moody and insistent productions. Lorde, as any pre-release review or portrait helpfully illustrated, was only 16 when she wrote and recorded Pure Heroine with producer Joel Little, and an adolescent aggrievance and angst certainly underpin the songs here. Lana Del Rey is a self-created starlet willing herself into stardom but Lorde fancies herself a poet, churning away at the darker recesses of her soul.
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If this story in the early years of the 2010s brings to mind Lana Del Rey, it's no coincidence that it also applies to New Zealand singer/songwriter Lorde, whose 2013 debut, Pure Heroine, contains all of the stylized goth foreboding of LDR's Born to Die and almost none of the louche, languid glamour. She wrote on her own, then she was paired with a sympathetic producer/songwriter, live performances taking a back seat to woodshedding. Signed to a major label at an early age, she was groomed in the darkness of studios, the label knowing the potential they had in their singer/songwriter.
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