Top 10 Most Enlightening Lyrical Moments on Melodrama

Melodrama is here. Melodrama has been here, now, for just over three days to be precise. And so it's been just over three days since we were born again, enlightened and transformed into new, purer beings living in a world of light and unadulterated artistry. That's thanks as much to Lorde's voice and sounds as it is to her masterful lyrics. And so, in an effort to provide recognition where recognition is due in specific facets of our Queen's masterpiece, we've compiled 10 of the most powerful, transcendent lyrical moments on the album:

"(Cause in my head) In my head, I do everything right.
(When you call) When you call, I'll forgive and not fight.
(Because ours) are the moments I play in the dark.
We were wild and fluorescent, come home to my heart."

This first essential piece of wisdom, off "Supercut"--which, we predict will soon be deservedly played on radio stations nonstop for the next six months--captures the painful truth of our obsessive thoughts that consume our souls when things are weird with our lover, and we just want them to call and come back.

"We're sleeping through all the days,
I'm acting like I don't see
Every ribbon you used to tie yourself to me."

On "Sober," Lorde describes that relationship we've all had where things are fun and flirty when you're drunk, but ambiguously nonexistent in the morning. This line gorgeously captures the moment of someone subtly putting out signals of affection and lust as the night progresses.

"So let's let things come out of the woodwork
I'll give you my best side, tell you all my best lines
Seeing me rolling, showing someone else love..."

On "Homemade Dynamite," we hear described the artful dance of seduction when out partying with a group of friends--acting nonchalant, laughing and touching other people--pretending to not be thinking only about if that hottie in the back is watching you or not.

"I am my mother's child, I'll love you 'til my breathing stops,
I'll love you 'til you call the cops on me.
But in our darkest hours, I stumbled on a secret power..."

Until you hear "Writer In The Dark" out loud, you don't quite get the shrieking desperation of these lyrics--someone so desperately consumed by another person, it drives them to madness. And we think "In our darkest hours, I stumbled on a secret power" is a glorious description of Lorde channeling her pain into songwriting.

"Now she's gonna play and sing and lock you in her heart..."

Another "Writer In The Dark" moment that really just captures the insanity of infatuation with elegance.

"I am your sweetheart psychopathic crush,
Drink up your movements, still I can't get enough.
I overthink your p-punctuation use,
Not my fault, just a thing that my mind do."

"The Louvre" is a genius song about Lorde's heartbeat, and this moment captures the breathtaking obsession associated with that rhythm, and highlights a fundamental behavior we all do: obsess over our crush's commas, periods and exclamation points.

"Are you lost enough?
Have another drink, get lost in us,
This is how we get notorious, oh oh oh oh."

In this moment of "Perfect Places," Mother Supreme encapsulates what it is to get drunk enough to feel free to make out with that person you've been obsessing over for weeks.

"The truth is I am a toy that people enjoy,
'Til all of the tricks don't work anymore.
And then they are bored of me."

Have you ever felt like people only want you for a little while because you're weird and unusual and funny like a clown? We certainly have, and this line ruined us for life.

"All the glamour and the trauma,
And the fucking melodrama, ooh oh.
All the gunfights and the limelights,
And the holy sick divine nights, ooh oh."

"Sober II (Melodrama)" will screw. You. Up. To us, it's the song that encapsulates the whole evening described on the album--the ugly aftermath of a night full of mindgames. And these lines are the essential descriptor of that painful truth.

"She thinks you love the beach, you're such a damn liar."

We'd be sinners if we didn't include this pivotally strange line from the most important song of all time, "Green Light." He doesn't even like the beach, that asshole.