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Lana Del Rey's career has been quite the interesting topic to discuss. Literally coming out of nowhere with her debut major label album, Born to Die, and met with polarizing reviews from music critics for the two years afterwards, she became an elusive part of the indie scene until the Cedric Gervais remix of her song "Summertime Sadness" got her some mainstream coverage. I first heard about her in 2012 through VH1, and three years later, I can state that I've become a real fan of hers. It's something about her ethereal persona and the lush atmospheres that she has for her songs that has me coming back.With her second album, Ultraviolence, things took a turn for the better. Music critics started to fall in love with her music, and the album received collectively positive reviews (meanwhile, some YouTube critics just wanted Ultraviolence to jump off the face of the earth). That album was definitely one of my favorites of last year, as Lana's lyrics and singing blended perfectly with the 70's surf rock instrumentals and the subdued darkness the album had. Even if some of the songs went on for a little too long, I still found myself drawn to the complicated character that is Lana Del Rey.
Fast forward a year later, and we already have a new album from Del Rey. This record, Honeymoon, focuses on the same themes that she has touched upon time and time again, but this time, she worked and co-produced with only two main producers: Rick Nowels and Kieron Menzies. With her new content being worked on by one of the people she's worked with in the past, and with an album solely produced by herself and two other people, did Lana deliver another winner? Or was this album a disappointment?
I went into this album in worry, but I came out happy. Honeymoon may not be as good of an album as Ultraviolence was, but it's still a relaxing experience that's a lot more restrained than Born to Die and Ultraviolence were. If you're interested in listening to Lana Del Rey, now's a good time as ever, because this album is definitely good.
From the first orchestral swells of "Honeymoon" to the final organ-like synth notes of "Don't Let Me Be Misunderstood", Del Rey calls to mind the image of a humid summer where you lounge on the deck with an ice cold glass of water or lemonade in hand. Before you know it, she lures you straight into this world of hers of the California lifestyle, relationships that are always dramatic, and the elegance that it's all wrapped in. I've always enjoyed this about Lana. She provides an entrance into this place that she's created, almost as if this is a play, she's one of the actors, and we're only the observers in this crazy world of hers.
Honeymoon's style takes a step back to the 2012 days of Lana Del Rey's career, but with more minimalist elements. Whereas "Cruel World", the opening track off Ultraviolence, began with guitar and rollicked its way through drums and echoing vocals, "Honeymoon", the title track and first song, eases back a bit, the orchestra from the beginning fading away to a simple piano line that has more added to it as the song goes on. When I first heard the song when it was first released in July, I couldn't help but find it boring. But the more I've listened to it, the more I've grown to like it. It's a nice departure from the 70's inspired surf rock that Ultraviolence offered, and it's a lot more casual and regal than her other music.
Like I said before, Honeymoon's main focus is relationships and Lana Del Rey's tendency to either obsess over the guys she loves or enact revenge on them (or, in another interpretation, the media). The title track shows the first example perfectly. Del Rey croons about how even though she might not be the one for her lover, and that he had a dark past, she still loves him and their relationship. References and imagery are used throughout the song (Wilshire and Pico Boulevards, violets in eyes, and roses between thighs are examples) to show what the couple can do and to describe their love, and even though most of the album's lyrics aren't particularly memorable, it's little pieces here and there that add a layer to the otherwise overloaded atmosphere that these 14 songs have over the span of an hour.
"Music to Watch Boys To" is a much more seductive song than its predecessor, beginning with an acapella intro before transitioning into a smoldering jam complete with a flute interlude and some strings peppered throughout. In this song, Lana spends her time watching boys and reflecting on her life. Like with the title track, this song definitely grew on me from the first listen, and I really think this is one of her sexiest songs to date. From the lyrics recalling soft grunge and summer days, to Del Rey's beautiful singing that recalls a femme fatale, this song is the perfect choice for the next single, and is easily one of my favorites from this album.
The next track is "Terrence Loves You", a ballad that begins with a slow guitar riff before dissolving into a piano-driven song complete with saxophone. Lana reminisces about a love she lost and how she isn't the same without him. Del Rey sings in her upper range for most of this song, and I was surprised at how emotive and real it sounded, as she always seems somewhat detached from the situations she's in. It makes for a much more honest turn, and I really appreciated her vulnerability here. I hope she does other songs like "Terrence Loves You" in the future, as hearing her softer side was definitely interesting.
"God Knows I Tried" adds to the summery environment of Honeymoon with cicadas and a humid, whimsical churning beat. Lana takes a departure from her messy love songs to address how she feels about her fame, comparing the days where she's having fun to the weeks in which she's busy and constantly working. In the chorus, God is her witness, saying that He knows what she's done, from loving to lying and trying to stay afloat. This is another one of my favorite songs from the album, as it lulls me to slow dance and sing along to it like it's an anthem. I also really like how different the song is from the rest of Del Rey's love songs. Plus, the artwork for it in the booklet is gorgeous.
See what I mean?
"High by the Beach" was the official first single released from the album, and much like Lana's earlier material, it takes elements from trip hop to create a sputtering groove that almost sounds like trap music. This song centers around a complicated relationship that she is tired of, because all she would rather do is get high than have to deal with the guy's constant words of love. In my opinion, this track is definitely one of my least favorites on the album, because something about the instrumental and singing makes this lack emotion, even though the organ-like synth line and bridge are definitely pretty. It's not horrible, but it's definitely not the best track Lana Del Rey has recorded.
"Freak" is the song just before the halfway point of the album and follows a similar pattern as "High by the Beach", with its trap-inspired hi-hats in the chorus and hazy atmosphere smeared throughout. Lana uses some nice lyrics to sing about her love for a man, and how he should follow her to California so they can be together and free. For me, this song is another one of my least favorites, because much like its predecessor, this feels devoid of life, almost like its chugging along while Del Rey is asleep on the club floor. Her detached style doesn't work here, but as this song fades, the next track immediately comes up and brightens my mood.
I'm talking about "Art Deco", which is to believed to be a song dedicated to Azealia Banks, a fellow musician who has gained controversy and a friend of Lana's. The mood of the track is somber as Lana tells the story of a woman who always yearns for more despite being in the spotlight and misunderstood for who she's trying to be. The backdrop of the instrumental is a buzzing synth as more layers are added on, including an orchestra and piano in the chorus. There's multiple things about this song that I immediately love, from Del Rey's more emotional delivery to the punctuating soft cries of "Why?" in the chorus that call back to the intro of "Born to Die", and everything just fits perfectly together to create a great song. This is probably my absolute favorite on the album, so well done, Lana.
"Burnt Norton (Interlude)" does something that Lana Del Rey has never done before: an interlude. Using a poem by T.S. Eliot, Lana narrates about just how complicated time is, and how we might not really be able to control our own destiny. The poem itself would take hours of interpretation to get through (definitely an English teacher's delight), and despite being only a minute and 22 seconds, the short length doesn't work against the interlude. Granted, you'll probably forget it the minute after you hear it, but it does a nice job of separating the two parts of the album.
"Religion" returns to Del Rey's tried and true love song formula, her infatuation now becoming so big that the guy's practically the only thing she believes in now. The instrumental for this track is incredibly lush, complete with guitar flourishes, rumbling percussion, and the reoccurring orchestra. The lyrics are incredibly open here as well, as Lana sings "When I'm down on my knees, you're how I pray." (does this hint at something inappropriate?) and "Hallelujah, I need your love." while mentioning how in love she is. Sure, this gets definitely creepy, but I can't help but buy into her earnest behavior, even if it does ring Fifty Shades of Grey. It's a nice song that someone would probably play late on a summer night as they watch the stars.
As the final beats of "Religion" wind down, "Salvatore" begins with a flute before dissolving into a violin-driven instrumental syncopated by slight percussion. Using Italian phrases ('ciao amore', 'cacciatore'), city descriptions, and imagery like 'soft ice cream' and 'limousines', Lana tells the tale of a woman longingly waiting for a lover (some people have interpreted the song about being two different lovers, and I can kind of see that here) and how she thinks everything will be simpler and better with him. This song is definitely ethereal and dreamy, and once again, Del Rey creates a haunting song that would be perfect for a slow dance or a nice sway. Also, an image of walking down the street with an ice cream cone in hand comes to my mind. It might not be a stand-out track, particularly being this late in the album, but it's still nice.
Next up we have "The Blackest Day", the longest track on the album that runs for over 6 minutes. Lana talks about a breakup in this song, and now that her boy has left her, she's felt alone. However, now that he's seeing another girl, she wants him all to herself either to love or to kill. Although this may sound like the other songs on the album, Lana showcases her full range here, going from her deep crooning in the verses to her high whisper-like vocals in the latter parts of the chorus. Also, the track's instrumental is elegant yet bitingly dark, containing thumps of drums and a synth that reminds me of a church organ, and the lyrics carry the weight of it perfectly. This was definitely unexpected from Lana Del Rey, much like my surprise at her softer side on "Terrence Loves You", and I hope she explores this side of herself more in later albums.
"24" is the twelfth song on Honeymoon, and according to fans of Lana who have gotten information from a radio interview, this may very well have been a song she composed for the newest James Bond movie due out in November. Sam Smith won that honor with his song "Writing's on the Wall", but "24" also clearly shows how Lana could have been a contender. The slow, retro instrumental, complete with its shuffling snaps and dramatic orchestration, recall a bravado and grace that are associated with the classic man that is James Bond. Even the song itself recalls a bold and scary romantic plot line, where Del Rey's boyfriend is away from her for half of the day and how he's betrayed her countless times. Although this isn't a horrible track, this almost feels stretched out to its absolute limits, a slow and somewhat tedious song that never really feels like it goes anywhere. In that regard, "24" is a song that could've been sped up just a tad to make it good.
"Swan Song" is the last original song on the album, and the second to last track out of the total of 14. The mood is a lot more joyous as Lana tells her lover about how she and him will leave the world behind as they create one final gesture to showcase their careers (known as a swan song, hence the title). It's definitely an uplifting piece (although contradictory to all the drama this album contains, but that's Lana Del Rey for you), and her voice soars across this song with beautiful grace as she instructs the man to put on his white tennis shoes (another metaphor that's the equivalent to not working) and follow her into a free place. This could have easily been a great way to end the album, but much like Ultraviolence, Lana Del Rey ends the journey with a cover song (this is not a bad thing).
"Don't Let Me Be Misunderstood", originally performed by Nina Simone, starts with a skipping organ/synth line that's complimented by what sounds like a xylophone before dissolving into a guitar in the chorus. Lana sings that she can't always be an angel or a good person, but she has the best intentions in mind when she does the things she does. Although it's not nearly as good as her cover of "The Other Woman", "Don't Let Me Be Misunderstood" is still a nice performance from Lana as she showcases her vulnerable pleading side to this man that she loves.
Despite its highlights, Honeymoon isn't my favorite album from Lana or from this year. It's definitely better than I was initially expecting, and if you've always wanted to try out Lana Del Rey or are a huge fan of hers, you'll definitely like this album. Honeymoon is available from Polydor and Interscope Records in physical, digital, and a LP/vinyl format if you're curious and want to create that vintage feeling Lana brings to her music (Barnes & Noble has some in stock). You can also stream the album on online streaming services like Spotify, if you desire.
Until next time! May you enjoy the lounge of a humid but relaxing summer to keep you warm in the brittle fall weather.
I'm talking about "Art Deco", which is to believed to be a song dedicated to Azealia Banks, a fellow musician who has gained controversy and a friend of Lana's. The mood of the track is somber as Lana tells the story of a woman who always yearns for more despite being in the spotlight and misunderstood for who she's trying to be. The backdrop of the instrumental is a buzzing synth as more layers are added on, including an orchestra and piano in the chorus. There's multiple things about this song that I immediately love, from Del Rey's more emotional delivery to the punctuating soft cries of "Why?" in the chorus that call back to the intro of "Born to Die", and everything just fits perfectly together to create a great song. This is probably my absolute favorite on the album, so well done, Lana.
"Burnt Norton (Interlude)" does something that Lana Del Rey has never done before: an interlude. Using a poem by T.S. Eliot, Lana narrates about just how complicated time is, and how we might not really be able to control our own destiny. The poem itself would take hours of interpretation to get through (definitely an English teacher's delight), and despite being only a minute and 22 seconds, the short length doesn't work against the interlude. Granted, you'll probably forget it the minute after you hear it, but it does a nice job of separating the two parts of the album.
"Religion" returns to Del Rey's tried and true love song formula, her infatuation now becoming so big that the guy's practically the only thing she believes in now. The instrumental for this track is incredibly lush, complete with guitar flourishes, rumbling percussion, and the reoccurring orchestra. The lyrics are incredibly open here as well, as Lana sings "When I'm down on my knees, you're how I pray." (does this hint at something inappropriate?) and "Hallelujah, I need your love." while mentioning how in love she is. Sure, this gets definitely creepy, but I can't help but buy into her earnest behavior, even if it does ring Fifty Shades of Grey. It's a nice song that someone would probably play late on a summer night as they watch the stars.
As the final beats of "Religion" wind down, "Salvatore" begins with a flute before dissolving into a violin-driven instrumental syncopated by slight percussion. Using Italian phrases ('ciao amore', 'cacciatore'), city descriptions, and imagery like 'soft ice cream' and 'limousines', Lana tells the tale of a woman longingly waiting for a lover (some people have interpreted the song about being two different lovers, and I can kind of see that here) and how she thinks everything will be simpler and better with him. This song is definitely ethereal and dreamy, and once again, Del Rey creates a haunting song that would be perfect for a slow dance or a nice sway. Also, an image of walking down the street with an ice cream cone in hand comes to my mind. It might not be a stand-out track, particularly being this late in the album, but it's still nice.
Next up we have "The Blackest Day", the longest track on the album that runs for over 6 minutes. Lana talks about a breakup in this song, and now that her boy has left her, she's felt alone. However, now that he's seeing another girl, she wants him all to herself either to love or to kill. Although this may sound like the other songs on the album, Lana showcases her full range here, going from her deep crooning in the verses to her high whisper-like vocals in the latter parts of the chorus. Also, the track's instrumental is elegant yet bitingly dark, containing thumps of drums and a synth that reminds me of a church organ, and the lyrics carry the weight of it perfectly. This was definitely unexpected from Lana Del Rey, much like my surprise at her softer side on "Terrence Loves You", and I hope she explores this side of herself more in later albums.
"24" is the twelfth song on Honeymoon, and according to fans of Lana who have gotten information from a radio interview, this may very well have been a song she composed for the newest James Bond movie due out in November. Sam Smith won that honor with his song "Writing's on the Wall", but "24" also clearly shows how Lana could have been a contender. The slow, retro instrumental, complete with its shuffling snaps and dramatic orchestration, recall a bravado and grace that are associated with the classic man that is James Bond. Even the song itself recalls a bold and scary romantic plot line, where Del Rey's boyfriend is away from her for half of the day and how he's betrayed her countless times. Although this isn't a horrible track, this almost feels stretched out to its absolute limits, a slow and somewhat tedious song that never really feels like it goes anywhere. In that regard, "24" is a song that could've been sped up just a tad to make it good.
"Swan Song" is the last original song on the album, and the second to last track out of the total of 14. The mood is a lot more joyous as Lana tells her lover about how she and him will leave the world behind as they create one final gesture to showcase their careers (known as a swan song, hence the title). It's definitely an uplifting piece (although contradictory to all the drama this album contains, but that's Lana Del Rey for you), and her voice soars across this song with beautiful grace as she instructs the man to put on his white tennis shoes (another metaphor that's the equivalent to not working) and follow her into a free place. This could have easily been a great way to end the album, but much like Ultraviolence, Lana Del Rey ends the journey with a cover song (this is not a bad thing).
"Don't Let Me Be Misunderstood", originally performed by Nina Simone, starts with a skipping organ/synth line that's complimented by what sounds like a xylophone before dissolving into a guitar in the chorus. Lana sings that she can't always be an angel or a good person, but she has the best intentions in mind when she does the things she does. Although it's not nearly as good as her cover of "The Other Woman", "Don't Let Me Be Misunderstood" is still a nice performance from Lana as she showcases her vulnerable pleading side to this man that she loves.
Despite its highlights, Honeymoon isn't my favorite album from Lana or from this year. It's definitely better than I was initially expecting, and if you've always wanted to try out Lana Del Rey or are a huge fan of hers, you'll definitely like this album. Honeymoon is available from Polydor and Interscope Records in physical, digital, and a LP/vinyl format if you're curious and want to create that vintage feeling Lana brings to her music (Barnes & Noble has some in stock). You can also stream the album on online streaming services like Spotify, if you desire.
Until next time! May you enjoy the lounge of a humid but relaxing summer to keep you warm in the brittle fall weather.
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