Solar Power (2021) – Lorde

Universal (2021)

Solar Power certainly has the energy of a Summer sun, but a setting, near-dusk sun rather than a hot noon sun.

On Lorde’s third studio album, she ditches the pop and piano melodies of Melodrama for folk-inspired and retro-infused attempts at Summer anthems. The New Zealand singer-songwriter once again enlists the help of trusted superproducer Jack Antonoff, whom she worked with on Melodrama. The attempts are valiant, but don’t always hit.

The lead single off the record, “Solar Power”, in the context of the record is an odd one. It’s upbeat, fun, and exactly captures the essence of Summer. It’s what you’d expect from a Summer anthem, and yet, there aren’t any other songs like it (though a case could be made for “Secrets from a Girl (Who’s Seen It All)”. “Solar Power” isn’t the best track on the record, but it certainly stands out. The major “You Can’t Always Get What You Want” (by the Rolling Stones) vibes it gives off is an early start to the trend of 60’s and 70’s influence on the record.

Sandwiching “Solar Power” are “The Path” and “California”, and the three make up what I’m calling the “afternoon sun” portion of the record because the energy after this group of tracks for the most part declines and mellows. It’s like the sun sets on the record.

“The Path” has an ultra catchy hook underlined by simple and straightforward drums that keep the tempo and energy up. The acoustic guitar is very easygoing. The opener kicks off the theme of being led in life by the sun, the ocean, and nature instead of materialistic and vain ideas like celebrity and fame. “The Path” is a solid opener and sets the tone thematically.

Track 3, “California”, is an ode to the Summeriest state. The muted electric guitar riff present throughout the song gives the track an apt beach vibe. The guitars are warm and so is the track. The production mixed with the reverbed vocals create a sense of being in a dream—just as Lorde sings. If the first three tracks are the hot afternoon sun, “California” is definitely the latest in the day when you start thinking of packing your things up and leaving the beach.

Things start to get messy with the fourth track and second single “Stoned at the Nail Salon”. As strong as Lorde’s introspective penmanship is on the song, the production is very bleak and boring. “Stoned at the Nail Salon” stands in stark contrast to the power presented in the first three tracks. I understand the decision to strip things back and just have a soft electric guitar accompany Lorde’s vocals for this folk tune, but it ends up sleepy and dreary. “Stoned at the Nail Salon” sounds like a B-side off of Lana Del Rey’s Chemtrails over the Country Club. Cue the anti-Antonoff rhetoric.

Following “Stoned at the Nail Salon” are a string of tracks that are vastly different from each other and reach into various pockets of styles. “Fallen Fruit” is a 70’s style folk-rock track about climate change and humanity’s effect on the Earth. It’s a cool one and the aesthetic works. Listen closely, and you’ll hear what sounds like a microwave beeping… Odd, but sure?

“Secrets from a Girl (Who’s Seen it All)” sees Lorde return to a more upbeat tone. This pop tune is simple pop fun, but is hardly engaging or anything special. Sure, it’s Summer-y, but it hardly moves the needle on basic pop music. The spoken outro by Robyn is a nice shout out to the pop icon, if not also meaningless.

“The Man with the Axe” is a soft, romantic ballad, which is actually one of the highlights on the record. It’s a beautiful song about outpouring love for someone. Perfect for a firepit or fireplace, this sweet track will definitely get you cuddled up with your boo. Maybe I’m a sucker for songs like “The Man with the Axe”, but Lorde keeps it real simple without trying to emulate a certain historic sound, and that along with her intimate songwriting is how this track shines.

Lorde once again mixes styles up as she channels Joni Mitchell, 70’s folk, and hippiness on “Dominoes”. Aside from the non-subtle nod to the era and culture, the track is bland and easy to pass over. In the middle section of the record, there’s folk-rock, pop, a pop ballad, and folk—all with little to no cohesion thematically, or stylistically. There’s also little Summer to it either.

The finishing leg of Solar Power is quite strong. “Big Star” is another track with just soft electric guitar and Lorde’s vocals—akin to “The Man with the Axe”. Interestingly, it’s a song Lorde wrote about her late dog Pearl. Sweet, soft, personal—more of this please! Oh wait, we’re almost at the end of the record.

The third single “Mood Ring” is a tongue-in-cheek satirical dig at pseudo-spirituality and astrology. It’s a catchy track with interesting vocal elements like reverbed vocals to create a flanged effect, and distant vocals to emulate a spirit or ghost. Stylistically, “Mood Ring” might have been the best indicator for the type of sound Solar Power would have, and yet it was released only days before the full album.

The closer “Oceanic Feeling” is a decent one. There’s a slow build up to a modest aquatic vibe. Lorde finishes off the record by taking things back to her homeland of New Zealand. The songwriting is very personal and reflective. Lorde sings of her home, her family, and what her future may bring.

Rather than ending on a bang, Lorde opts for a subtle approach with the final moments of the record being an almost hidden track latched onto “Oceanic Feeling”. Lorde sings of returning to the beach while crickets can be heard in the background.

Solar Power was advertised as a Summer record for 2021, and the lead single alluded to as much. However, there isn’t much bright Summer to be found on the record. Perhaps, the essence of Summer dusk is fitting for the late August release of the record because if the Northern Hemisphere was supposed to be blasting Solar Power all Summer, the record has come a little too late. Hopefully New Zealand and the rest of the Southern Hemisphere will be able to enjoy it for their Southern Summer.

Overall, the record has interesting moments with equally mundane moments. Solar Power is a mixed bag of styles and to a lesser extent, themes. This causes the record to lack cohesion after the first three tracks. The sum of the parts on Lorde’s third record is certainly greater than the record as a project. Despite the high hopes for Lorde’s first album in four years, fans and general listeners will likely walk away a little disappointed, and wanting more.

Favourite tracks: The Path, Solar Power, California, The Man with the Axe, Big Star, Mood Ring