Having exploded with 2012's 'Born To Die' giving mainstream pop a more alternative figure, Lana Del Ray is back with her third album 'Ultraviolence'. Given the mass success of its predecessor which was loved by commercial pop fans just as much as it was indie fans, can album three live up to the buzz of 'Born To Die'?
'Ultraviolence' gets off to a mixed start. Opener 'Cruel World' has a cool 60s/70s psychedelic vibe to it with bright, but lonely guitar chords. Lana Del Rey's unmistakable voice strengthens the song with her haunting tone singing lines with lyrical themes of freedom, e.g. 'Finally happy now you're gone'. While it's not overly upbeat sonically, the lyrics remain positive. It's a decent chilled out number, but quite light, with little to keep your mind from wandering. The fault is in that it's perhaps too long, as it feels like its run its course by the forth minute out of six. The title track has strong strings, but obvious piano keys, and the minimal drum beat increases the morbidity that Del Rey was clearly going for. Lyrically, the chorus is weakened by the over-repeated title and the Madonna - 'Vogue'-esque spoken word part does not fit in the rest of it; these two small things make the track sound rushed and spoil the overall feel.
The first major strength on the album comes in the shape of 'Shades Of Cool', with its guitar riff that sounds like a laid back rendition of the James Bond theme. The chorus is a good percentage more lush, with Del Rey's voice more angelic and some subtle strings coming into the mix. Unlike 'Cruel World', this is relaxing, but actually has some interesting ideas at play to prevent you from drifting off completely. The sinister, not too in-your-face guitar solo definitely suggests a Portishead influence.
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