On social media, there are countless teen-created tributes to the singer, the posts (and many, many memes) fawning over the strength of her lyrics, those mesmerizing dance moves, and, yes, the occasional detailed onion-ring review. While Lorde’s appeal has always spanned different age groups (her music has been praised by everyone from David Bowie to Elton John), it’s teenagers who undoubtedly make up the most passionate end of her fan base. 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.He’s far from the only one. 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. 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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