Starting as a relative unknown with a history of alcohol abuse, Lizzy Grant—known to most as Lana Del Rey—shot to fame in 2011 with the release of her single “Video Games.” Despite legions of devoted fans, Del Rey has been pelted ever since with criticism and backlash from the media for everything from a less than perfect “Saturday Night Live” performance to general questions about her authenticity as an artist. In spite of all the fierce attacks directed at her, Lana Del Rey successfully released a much anticipated second full-length album this month, entitled Ultraviolence.
Del Rey’s music has always had a murky, slightly disturbing sensibility, and fans of her signature style can expect to be satisfied with her newest release. In following with popular themes of her previous work, Del Rey continues her discussion of poisonous relationships, dependent women, and Hollywood glamour all wrapped up in a neat, angst-ridden package. In addition, a distinct haze penetrates every track in Ultraviolence, and for the most part the tempo of each song marches along at a rather sluggish pace. Combined with Del Rey’s smoky, reverberant vocals, the total effect is that of a waking dream.
Without some of the bouncier tracks present in Born to Die, Ultraviolence doesn’t have much of an arc, and, when listened to as a whole work, the album tends to drag at some points. However there are several enjoyable moments, an example being “Shades of Cool,” a track that showcases Del Rey’s range as she bends her voice in slow scoops, hearkening back to classic blues style. The slow triplet tempo of the song works especially well with this vocal flourish, and a dissonant guitar bridge ties the piece together.
“Brooklyn Baby” is both a tribute to and a humorous commentary on the hipster scene of Brooklyn, with lines like “I get down to beat poetry” and “I get high on hydroponic weed.” This sardonic attitude is combined with catchy guitar licks and wispy vocals, creating interesting stylistic contrast.
In “Florida Kilos,” one of the only slightly uptempo tracks on the album, features a finger-picked guitar riff that twangs under the whole song and adds an intimacy to the upbeat track. The song, like most of the tracks, is rooted in Del Rey’s depiction of a passionate yet poisonous relationship, proclaiming, “Prison isn’t nothing to me, if you’ll be by my side.” The song inhabits a necessary position on the track list, as it leads into a final slow, languishing lament entitled “Is This Happiness.”
Regardless of the constant attacks on her artistry and character, Lana Del Rey has seen incredible success. Her newest release is a solid sophomore album that will certainly please fans of her previous work. Although the slow tempo of most of the tracks can create a sense of lethargy at times, there are many bright moments that create interest and captivate the ear.
Ultraviolence