Next to Del Rey, Selena Gomez is Gloria Steinem chairing a National Organization for Women meeting. She feels new, although her persona - suicidal doormat with a bad-boy fetish - would have seemed dated in an Edith Wharton novel. For teenage girls weary of sound-alike, electro-obsessed female pop stars produced and packaged by men, Del Rey offers an injection of faded, old-timey glamour. It’s even more disturbing that they were apparently right. It’s not just retro, it’s calculatedly, disturbingly retrograde, as if someone decided that vacant female subservience was somehow underrepresented in the Top 40. “Ultraviolence” is an album of good and great songs, presented by a tedious character.
She’s a lounge singer on the hipster Titanic. She’s the star of her own airless psychodrama, enraptured by death, happily subservient to a parade of loser boyfriends. “Born to Die” was scattered, rambling and occasionally off-message, but “Ultraviolence” offers the first glimpse of her now fully realized id: Del Rey is beautiful, jaded and doomed, in love with some American past that has never existed. “ Ultraviolence” is her second major-label full-length album - her first since becoming America’s Saddest Pop Star - and Del Rey has never sounded better in her brief life. Del Rey had a few hit singles, and the outrage machine happily moved on to Miley Cyrus. Then “ Born to Die,” her 2012 major-label debut, moved 7 million copies worldwide (outselling Beyonce’s latest album twice over, you might have read). Or maybe she was created by an ace team of marketers led by Grant’s father, depending on which equally depressing creation myth you believed. She was a hack, a fraud, a blank-eyed Frankenstein born out of the imagination of a failed New York singer-songwriter once named Lizzy Grant. Listen to all three below.Everyone used to be really mad at Lana Del Rey. Nobody would mistake any of these tracks for being anything other than Lana Del Rey songs, but they still represent a bit of a departure. Del Rey sings in her lower register, and she’s wordier than she often is. “Wildflower Wildfire,” for instance, is just Del Rey’s voice and a piano, until crunchy electronic drums come in at the end. She also co-wrote “Wildflower Wildfire” with Mike Dean, the veteran rap producer best known for his work with Kanye West.Īll three of the new songs are dreamy and minimal, with little of the orchestral swirl that Antonoff used on the last two Del Rey albums. Today, Del Rey has released three new songs, including the album’s title track.ĭel Rey’s three new songs are called “Blue Banisters,” “Text Book,” and “Wildflower Wildfire.” Del Rey recorded all three of them without Jack Antonoff, her primary collaborator on Chemtrails Over The Country Club and its predcessor, 2019’s Norman Fucking Rockwell! Del Rey co-wrote “Blue Banisters” and “Text Book” with producer Gabe Simon, a member of the band Kopecky who has collaborated with people like grandson and mxmtoon. It looks like she was serious about that. Later, Del Rey amended that, claiming that her new album would be called Blue Banisters and that it would be out on July 4. The day after its release, Del Rey said that she’d have another new album out in June. Two months ago, Lana Del Rey released her album Chemtrails Over The Country Club.
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