MUSIC PREMIERES
Lorde offered a full breakdown of her long-awaited new single, “Solar Power,” during an interview with Zane Lowe on Apple Music One Friday, June 11th.
The track, Lorde said, was borne during a summer on Martha’s Vineyard, when she came back from a long day of swimming and began playing around with a Yamaha DX keyboard. She said the melody reminded her of Robby Williams’ song “Rock DJ,” and when she later took the song’s skeleton to producer Jack Antonoff, she set about capturing a distinct summer vibe.
“We had all the windows open. It was summer. And then we just followed it through,” Lorde said. “I sampled cicadas on my phone for the last few summers. I was like, it has to have the cicadas in it. I really wanted to capture [that] there’s something so specific about the New Zealand summer.”
Along with the Robby Williams nod, Lorde cited Primal Scream’s “Loaded” as a major influence on the track. While Lorde said she arrived at the melody organically, she cited the 1990 Madchester classic as “100% the original blueprint for this,” and said Primal Scream’s Bobby Gillespie even offered his approval.
“I wrote the song on the piano and then we realized like, this is, it sounds a lot like ‘Loaded,’” Lorde said. “It’s just one of those crazy things that like, they just were the spiritual forebears of the song. I reached out to Bobby and he was so lovely about it. And he was like, you know, these things happen. You caught a vibe that we caught years ago. And he gave us his blessing.”
Elsewhere in the interview, Lorde spoke about inviting Phoebe Bridgers and Clairo to provide backing vocals on the song, marking the first time she’s had other vocalists sing on one of her songs. “I just knew it had to be a gang,” she said, adding, “the sentiments were not just mine alone to deliver. So yeah, it really it’s everything I hoped it would be in terms of having other people on it. It’s fun not to be alone. Finally.”
And Lorde offered a bit of a teaser for her forthcoming album, saying it, too, was inspired by both a steady process of rejuvenation and New Zealand summers. “I think people realize that about me now, I’m one who has to go away and figure it out and I’ll be back and I’ll bring you a full universe when I come back, but it takes me a minute,” she said. “And I feel like you can hear that in the work and the whole album. When we do sit down and talk about it, it just felt light and casual and playful, and that’s the zone that I’m in.”
MUSIC PREMIERES
Lykke Li didn’t hold back when speaking about the making of her sixth studio album, ‘The Afterparty’, during a listening session in Los Angeles earlier this year. “Let’s talk about the album. It was a motherfucker to make,” she admitted to the crowd. While balancing motherhood, the chaos of modern culture shaped by Trump and AI, and her own desire to create something more “extroverted, impulsive and chaotic” than ‘EYEYE’, as she previously shared with NME, the Swedish alt pop star arrived at a headspace that “feels like it’s 4am and the sun is going to rise”. The record captures that blurry final moment before regret, exhaustion and reality settle in, which makes it even more emotional considering she has hinted this could potentially be her final album.
There is something fitting about how brief the project feels. With only nine tracks running across 24 minutes, it never overstays its welcome. Lykke immediately drops listeners into the atmosphere with opener ‘Not Gon Cry’, painting a picture of those lonely early morning hours with the line, “No angels here tonight, no dancing queens.” Alongside the shadowy pulse of ‘Happy Now’ and the twisted disco energy of ‘Lucky Now’, she revisits the emotional yet dance driven spirit of her earlier material while blending in the sharper, more confident attitude heard on ‘So Sad, So Sexy’ and the shimmering influence of her 2019 Mark Ronson collaboration ‘Late Night Feelings’.
The emotional fallout begins to settle in quickly. ‘Famous Last Words’ carries a lush orchestral sadness as Lykke reflects on lessons that only came after years of chaos and late nights, confessing, “I had to crash and burn to tell the tale.” Then comes ‘Future Fear’, a delicate acoustic track with robotic textures that stares directly into anxiety and uncertainty with the chilling question, “I’m going to a dark place, do you need anything?” Meanwhile, ‘So Happy I Could Die’ glows like sunrise after a sleepless night, holding onto fleeting moments as she sings about “slipping through the hourglass”.
Throughout the album, Lykke Li vividly captures the beauty and wreckage of reckless nights with the vulnerability that has always defined her music. On ‘Sick Of Love’, she channels heartbreak into revenge, wanting to “make you beg for it” after rejection in a way that feels spiritually connected to Robyn’s ‘Dancing On My Own’. One of the strongest moments arrives with ‘Knife In The Heart’, a track that fully embraces her desire to become the “rock god” and “fuck boy” she spoke about, firing back at anyone who tries to tear her down with the words “you can spit, you can walk on me” while delivering one of the catchiest songs she has created in years.
Closing track ‘Euphoria’ leaves behind the same bittersweet feeling that runs through the rest of the album. With sweeping strings, pulsing beats and emotional intensity, Lykke Li reminds listeners that nothing lasts forever as she sings, “Player play your song, waste the night away”. Like the fading energy of the perfect night out, ‘The Afterparty’ ends in a haze of beauty and uncertainty. If this truly is her farewell, she leaves with one final intoxicating statement, though it still feels like there could be another chapter waiting.
