Album Review: “Ultraviolence” by Lana del Rey

Posted by Lucy McBride on August 7, 2014 · 1 Comment 

Recently dubbed by Rolling Stone as the “Saddest, baddest diva in rock,” Miz Lana Del Rey’s penchant for deep, dark melancholy has commanded the attention of both lovers and haters for the past three years.

I, personally, am a lover; perhaps it’s that I’m naturally melancholy, but her words, yes, “speak to me” and manage to strike a nerve that not many artists can reach.  All personal feelings aside, I felt it necessary to review her third and highly-anticipated album, Ultraviolence.

(via Gorilla vs. Bear)

The chief complaint with Lana is that she lacks diversity; her songs, though beautiful, are almost too sad…with consistent thematic content – sex, drugs, rock and roll, etc;  It’s also rumored that her rebel-vintage-sexpot image is completely fabricated by a team of producers, and that she’s a demanding diva with a massive fucking ego. I have no idea if this is actually true, but for the record, this review will remain unbiased…

Ultraviolence opens with “Cruel World,” which stylistically sets the tone for the entire album.  Echoing through a dreamy, bluesy sound that’s surprisingly gentle for an opener, unsurprisingly, Del Rey sings of intense heartbreak (while of course incorporating bourbon, foul language and religious symbolism into her lyrics).

Shared my body and my mind with you // that’s all over now // did what I had to do // cause you’re so far past me now

As we begin to pity LDR for a pain that seems heavy and real, the song gains momentum, moving like the stages of a heartbreak – from delirium, to depression, to the empowered high of a “fuck it all” mentality, to a numbed acceptance.  You’ll come to see that Ultraviolence as a whole loosely mimics these stages of grief.

The third single and second track, “Ultraviolence,” offers dark innuendos that make “Cruel World” seem like a child’s lullaby. Here, we move through a luxuriously smokey haze and into the bedroom of LDR’s dark, depraved and delirious fantasies.  “Shades of Cool” maintains this vibe with haunting, beautiful vocals and wailing guitar riffs.

The album takes a small jump with fourth single “Brooklyn Baby,” a comparatively upbeat track with honest and innocent lyrics that recall Lana’s older material, and thus a younger Lana.  Perhaps that’s why this song is one of my favorites…it’s sugary sweet LDR infused with a more mature cockiness and vulnerability.

Next comes “West Coast,” the first single off Ultraviolence.   Curiously slotted after “Brooklyn Baby,” “West Coast” might charter a comparative clash between Lana’s New York roots and showbiz-centric Cali life. Both vocals and instrumentals are hypnotic and melancholy, with lyrics that hint there’s more to Lana’s life story in life, love, and the demons that define them.  The track, though dripping with sex, is overly eerie. “Sad Girl” follows in similar form, a sway-inducing blues track about being “a bad bitch on the side.” While sung through sad and simple lyrics, the tune incites some pity for LDR, or whoever she’s singing about (one never knows for sure).

“Pretty When You Cry,” is vaguely unmemorable and whiney, but the album gains momentum with “Money Power Glory,” whose egotistical style and grandiose tempo recall LDR’s modern Americana bitch ballad “National Anthem.” That explicit and honest tone continues with “Fucked My Way Up to the Top,” a song who’s meaning really needs no explaining (Lana has hinted at having relationships with industry professionals in the past). The pace slows with “Old Money,” a nostalgic, sleepy ballad about young love and regret, while “The Other Woman,” delivers a shrilly, strung-out 40’s beauty parlor blues sound.

If you’ve picked up the Ultraviolence deluxe version (because DUH), you’ll see that the final chapter finishes strong. “Black Beauty,” and “Guns and Roses” are two dreamy and gorgeous demonstrations of LDR’s vocals that set the tone for “Florida Kilos,” a lighthearted and modish tune about the risky biz of moving bricks through FL with a lover. This final track is one of my favorites off the album – fun, sexy, and full of LDR’s signature DGAF mentality.

In conclusion ladies and gents, Ultraviolence is a hit with me; so long as the heaviness of her lyrics and slowed-down tempos don’t make you feel too low, it’s classic Lana mixed with an entirely new vulnerability, curious symbolism and stylistic surprises. If you’re a fan of America’s most controversial songstress, give this a listen…you’ll appreciate the deeper undertones and you definitely won’t mind swaying to these gorgeous melodies.

Top Tracks:

• Ultraviolence
• Brooklyn Baby
• West Coast
• Sad Girl
• Fucked My Way Up to the Top
• Florida Kilos

Happy listening!

xoxo

Lucy

Filed under Album Review, Lucy, Music, New Music, New Release · Tagged with album review, glamour, Hollywood, Lana del Rey, Music, New Music, new release, retro, rolling stone, summer, ultraviolence, Vintage, west coast