Hype and Lana Del Rey go hand-in-hand, always have done, probably always will. The hysteria surrounding Video Games was crazy, in both good and bad ways but it was followed up by the flawless debut, Born To Die. Ultraviolence on the other hand is a different monster. The 2012 debut was followed up with a rerelease featuring new tracks, some great, others throw-away whilst Young And Beautiful taken from The Great Gatsby soundtrack saw a different side to the New York beau.
Born To Die showed shades of light and dark but it's all gone a bit grey, dreary yet dreamy from a complex, sometimes confusing personality. This is the only criticism for Ultraviolence, it is a little one dimension, there's no relief from the sadness, no sign of joy but when Lana does something well she aces it. It must be annoying when your debut release turns out to be one of the best songs ever, Dey Rey could spend her whole career trying to emulate the success but Video Games is a timeless classic, a one off, but it hasn't haunted her, she's always been screwed up!
Ultraviolence was written in a relatively short space of time in LA, recorded in Nashville with The Black Keys' Dan Auerbach as producer and his mates as the backing band, all these elements together have created a coherent, moody atmosphere with an intense yet cool swagger waltzing through. If this was an eighties rock band it would come across cliche as it's smothered with sex, drugs and debauchery.
The first insight into Ultraviolence came in the form of the disjointed West Coast it didn't fill me with hope, it wasn't even on the level as the worst moments from Born To Die but as a piece of the second record it works perfectly. The Other Woman, a track about being a mistress (is this autobiographical?) sways with a vintage appeal, suits her silky yet crooning voice perfectly whilst it is sandwiched between two slices of prettiness, Old Money and the elegant Black Money.
The title track pays homage to The Crystals' He Hit Me (And It Felt Like A Kiss) whilst Shades Of Cool could be from a James Bond soundtrack and there's a rare air of confidence coming through in the slick and lite Brooklyn Baby.
Lana Del Rey could have done anything and it would have intensely scrutinised, the criticism that followed the perfect Video Games was insane and it would have been impossible for her to write another classic and although the album has its flaws it shows she dares to be herself and not follow the music industry rule book. I'm glad she isn't 'dead already' even if she wishes she was.
Hype and Lana Del Rey go hand-in-hand, always have done, probably always will. The hysteria surrounding Video Games was crazy, in both good and bad ways but it was followed up by the flawless debut, Born To Die.
Hype and Lana Del Rey go hand-in-hand, always have done, probably always will. The hysteria surrounding Video Games was crazy, in both good and bad ways but it was followed up by the flawless debut, Born To Die.
