By Yamini Gaur
Lana Del Rey is one of our generation’s finest and most unique female singers. Her songs are a beautiful amalgamation of prodigal and elemental acts of the 60s, of the likes of Nancy Sinatra. Her deep throated and cracking voice suits the rustic and highly urbane music that she makes. Most of her songs are sinisterly dark and lucid, cogently directing the listener towards abandonment and the untimely death of a loved one. Deciphering her lyrics into meaningful and statistically suited chronicles has long been cherished by the internet.
With a cigarette hanging limp from her lips and a dark, almost beseeching look in her eyes, Lana Del Rey’s music is as enticing and fundamentally attractive as her musical image of being emotionally damaged beyond repair; her call for love to cut so deep through flesh as to erase all societal pains; the sheer idea of a soul in a desperate need to be saved.
With a cigarette hanging limp from her lips and a dark, almost beseeching look in her eyes, Lana Del Rey’s music is as enticing and fundamentally attractive as her musical image of being emotionally damaged beyond repair; her call for love to cut so deep through flesh as to erase all societal pains; the sheer idea of a soul in a desperate need to be saved.
Ultraviolence was released on July 13th by Interscope and Polydor Records. A few songs off the album like “Brooklyn Baby” and “Shades of Cool” were released (read leaked) last month itself.
Now Ultraviolence is essentially very dark even by Lana Del Rey’s standards and talks pretty vividly about lost loves; failed attempts at romance and inveterate habits. According to me, Lana Del Rey specifically appeals to both men and women alike because of how obliging she depicts herself in her songs. Her sultry voice more than often times, expresses utter gratitude onboard a colourfully precipitous relationship. While she excels quite vivaciously in this particular arena, I somehow feel more attached to her previous songs and albums; Ultraviolence didn’t quite work the trick for me.
Now Ultraviolence is essentially very dark even by Lana Del Rey’s standards and talks pretty vividly about lost loves; failed attempts at romance and inveterate habits. According to me, Lana Del Rey specifically appeals to both men and women alike because of how obliging she depicts herself in her songs. Her sultry voice more than often times, expresses utter gratitude onboard a colourfully precipitous relationship. While she excels quite vivaciously in this particular arena, I somehow feel more attached to her previous songs and albums; Ultraviolence didn’t quite work the trick for me.
“Shades of Cool”, “Brooklyn Babe”, “Ultraviolence”, “West Coast” and “Old Money” are worth listening to. It feels as if this particular album is a little depersonalized according to LDR’s point of view; it feels more distant and an attempt at outwardly exposing the world to an existent but less talked about ladder that involves a subsequent and inevitable loss of innocence and emotions as it pushes you towards the blinding light of success.
Her voice seems characteristically classy in “The Other Woman” which accompanied by the continuous onset of cascading violins sounds beautifully old and tastefully vintage.
Her voice seems characteristically classy in “The Other Woman” which accompanied by the continuous onset of cascading violins sounds beautifully old and tastefully vintage.
Even though she has shown great versatility in the past, I found this album repetitive but by and large, not downright disappointing. Lana Del Rey should venture into something a little different the next time because her poignant and alluringly distressing songs are starting to whir irrevocably into a nasty cycle of monotony.
Have a listen and let us know what you think.
If you want a new playlist, we have a playlist just for you - Everything good under the sun .
Have a listen and let us know what you think.
If you want a new playlist, we have a playlist just for you - Everything good under the sun .