Ella Marija Lani Yelich-O'Connor has a rare neurological condition known as sound-to-colour synaesthesia; corresponding colours will appear when one hears certain notes. It therefore felt fitting for her returning single to be entitled ‘Green Light’, a sparkling pop beacon bright enough to cut through the noise of an oversaturated marketplace. From the noir palette of her debut Pure Heroine, here we bathe in the icy greens and blues of Lorde’s revived confidence.

On emergence Lorde gained global notoriety for honesty within her songwriting voice. Melodrama was written when Ella was aged 18 and 19, a famously tremulous time for any teenager and expected themes of lust, love and loss form the spine of this collection - all written with a recognisable honesty. Reflecting on her breakup with photographer James Lowe she noted “after your heart is broken, music enters you on a new level,” and she conveys this heartbreak with commendable conviction. The trip-pop ‘Sober’ is particularly bitter sweet, a single-in-waiting with husky delivery and theatrical horn/brass arrangements similar to those that made Florence’s How Big, How Blue, How Beautiful so spatial in its approach to pop. ‘Sober II (Melodrama)’ is a far more reserved affair, luxurious strings open onto a whispered melody of “who told you this was melodrama?” that feels both palpably personal and indeterminately universal.

Lorde wrote, recorded and reviewed this album in a variety of different places, including a house on an abandoned island, a 24 hour diner and pre-dawn New York subway journeys. Time spent in isolation has an indescribable atmosphere, cold electricity that follows a solitary person and this has been captured throughout Melodrama, in the echoes that beckon ‘Writer In The Dark’, the lyrical cynicism of ‘Loveless’, or the chilling steadiness of ‘Hard Feelings’. The latter is set to luxurious, warm string arrangement guising the anguish to a passive listener, a technique implemented on Björk’s Vespertine. When we arrive at the pained image of Lorde swaying alone in a living room stroking her own cheek on ‘Liability’ it is apparent this young star grapples with the same complex emotions we all suffer through our formative years.

Three pop highlights punctuate this LP; the rushing opener ‘Green Light’, with its off-centre house piano hook and unconventional structure, demonstrates Lorde’s bold approach to composition. ‘The Louvre’ is an evocative anthem featuring gorgeous lyricism and a sound that captures the giddy excitement of approaching a night time festival tent, and hearing the muffled reverb of something gigantic. Lastly ‘Supercut’ is a sugar rush, Jack Antonoff’s pristine production style elevating Lorde’s often downtempo manner to the giddying heights of the Taylors and Carly Raes.

Melodrama feels like a volatile house party. There are moments of utter euphoria (‘Green Light’), passionate intimacy (‘Sober’), heartbreaking quietness (‘Liability’), reflection on excess (‘Perfect Places’), and beyond. Lorde questions her relations with alcohol, communication and other people throughout this wild night as many of us do in the glittering, warm glow of inebriation and celebration. It’s a soundtrack for the delirious highs and also the sobering, sombre lows when the glasses break and the lights turn on.