Rewind two years. With debut single ‘Video Games’, Lana Del Rey is crowned Queen of the Future of Everything and a debut album hastily follows. It’s really quite good and does really quite well, and then with the same speed she arrived, Lana all but disappears (save for popping up on the odd H&M ad).

Lorde, we are led to believe, is the new Lana. Partly because she sounds quite a lot like the old Lana, and partly because her own debut ‘Royals’ has arrived similarly from nowhere to chuck a spanner towards the hype machine’s cogs and pistons.

Similarly, ‘Pure Heroine’ is really quite good. But, unlike her predecessor, you get the feeling the 16-year-old New Zealand waif might be have tad more staying power.

Whilst there’s a hip-hop influence underpinning the electro-pop minimalism on ‘Glory And Gore’ or ‘Tennis Court’, the overall atmosphere never feels contrived. There’s an honesty to Lorde’s youthfully cynical musings (very much the thoughts of a teenager, albeit a damn savvy one) that affords her more avenues to explore. And, whilst Lorde’s world creates its own incredibly distinctive atmosphere, it feels accessible and open to maturing.