No longer the best kept secret, the world has wised up to the talents of Lorde in a whirlwind six months that would have significantly turned the head of most, but not Ella Yelich-O’Connor, Lorde's birth name. As much as the plaudits and achievements are piling up - #1 album and single in her native New Zealand, the first female artist to top the Billboard Alternative Chart in 17 years, taking Frank Ocean’s slot last minute at Australia’s Splendour In the Grass festival and killing it etc etc - you wouldn’t know it from the girl herself. With Royals, Tennis Court and The Love Club EP about to be backed up by her debut album Pure Heroine, listeners will finally get their first chance to fully immerse themselves in the extended work of an artist who has already managed to nail the ebullience, ennnui and constantly confounding nature of modern life in a way it seems almost everyone can relate to. Spurning the stereotypes of pouting pop princesses and vacuous marketing-sponge teens, Lorde turns a mirror to the monotony and the magnificence that surrounds her, articulating it with razor sharp intensity and some right regal rhetorical behaviour. Given a chance to develop her craft and find her feet, after being signed up by Universal three years ago, the musical stars aligned for her when she linked up with producer and co-writer Joel Little, who was able to assist in getting the songs out of her head and into the irrepressible earworms they have become.