★ ★ ★ 1/2 out of 5
In just two short years, Internet superstar Lana Del Rey has achieved mainstream success after a clever name change, a critic-dividing debut album and a few hit-or-miss live performances. For her official sophomore album, following an extended play release, the "Video Games" crooner is getting dark and moody. Ultraviolence, a term taken from the film A Clockwork Orange, further cements Del Rey's status as a soulful, lively vocalist and a vivid story teller.
Preceded by four singles, including "West Coast" and "Shades of Cool", the new album is a far departure from the artist's controversial beginnings. While Born To Die had hints of underlying pop tones and impressive build ups to memorable choruses, the new project maintains the same somber vibe throughout, highlighting Del Rey's songwriting improvement and the use of over dramatic production. It definitely showcases an evolution, but whether it is for better or worse remains to be seen.
Opening with "Cruel World", Del Rey sounds on the verge of inebriation as she glides through a six-minute, slow, blues-sounding track describing her new freedom from an abusive relationship. Her vocals have always been the highlight of her music, but even here it's sometimes difficult to understand her crooning, to contemplate exactly what she is singing about. It has the same epic, drug-induced feel we are used to, but something is off.
The album's title track may initially sound like a sweeping song of romance supported by beautiful strings and sultry vocals, but the songwriting paints a more sinister picture for the artist and her relationship. "I can hear sirens, sirens, he hit me and it felt like a kiss," Del Rey tragically belts on the chorus, one feminists have already criticized for glamorizing domestic abuse. "Ultraviolence" is an instant classic, no matter how grim it is.
For the official second single, "Shades of Cool", the artist comes off sounding like the seductive Jessica Rabbit, in her debut scene from Who Framed Roger Rabbit?, as she sings of a love affair with a man who tends to walk on the wild side. With an impressive guitar solo towards the end of the love story, the song does have some alternative rock radio potential buried within as Del Rey's vocal delivery steals the show.
"Brooklyn Baby", another pre-release promo track, has some light, summery undertones compared to the heavy state of depression found on the preceding efforts. The songs plays out as a true love song, to the man in her life, and the city. While the same monotonous beats are heard throughout, never becoming anything more than average, the lyrics are so well-written listeners will find themselves in the shoes of Del Rey.
Lead single "West Coast" returned the artist to the music scene without the help of a motion picture soundtrack. However, it was not the same artist we heard two years ago. The opening line is perfection, the song stays true to Del Rey's trademark style with some 80s-like production, dominate drums and guitar and vocals that give off a summery, breezy, rock vibe, but it does lack a sense of the drama or attention-grabbing appeal.
It appears Del Rey is playing the role of mistress on "Sad Girl", a troubled ballad where the artist is broken by being burned by her lover. "Being a bad bitch in the side, might not appeal to fools like you," she sings of the affair. As the song progresses, the artist starts to second guess what she is doing, but unfortunately cannot seem to pull away, a message that will resonate with her passionate listeners.
Seems one must always look for the thin silver lining when facing a path of despair and destruction. On "Pretty When You Cry", Del Rey is patiently waiting for her man's return, a man who never comes through for her. The song plays out as a movie, as the audience silently stares at the artist crying on her bathroom floor. It's an emotional, tragic story that falls in line with the overall feel of the new album.
After numerous tracks of being beaten, unloved and forgotten, Del Rey finally gives herself a moment to be in control and on top when it comes to her relationships. "Money Power Glory" shows the artist calling the shots, taking her lover for all he is worth. "Hallelujah, I'm gonna take them for all that they got," she croons in a revengeful, unforgiving tone. It is a welcomed change of pace, especially in subject matter. There is a light at the end of the tunnel.
"Fucked My Way Up to the Top" is a deliciously explicit look into Del Rey's consistent love for mature and powerful gentlemen, it could also be a look into how the artist got her own music career. Either way, she is letting it be know that she is in charge of her awesome life. The lyrics are perfectly descriptive, they paint a picture of one's unsatisfied hunger for fame and fortune, and the things we will do to achieve it.
Del Rey dives into her extravagant life, her privileged upbringing on "Old Money", a track that carries its share of good and bad characteristics. The artist's vocals are brilliant and elegant, the chorus is quite a spectacle, however, the lyrics on the verses are a bit confusing as she seems to be describing her new life in Hollywood. The strings are lovely and intriguing, reminiscent of Born To Die, this one just does not fully hit the mark intended.
The album closes out with "The Other Woman", a cover of a classic jazz number from Nina Simone. While Del Rey takes the song, completely makes it her own with a somber trademark twist and sounds as beautiful as always, a cover may not have been the best way to finish off an album. The track sums up the concept of the ride or die album, "and as the years go by, the other woman will spend her life alone". Incredibly dark.
Ultraviolence was a heavily anticipated album from an artist who's star continues to glow brighter and brighter. Lana Del Rey is definitely a complex character, one presented in a high society class setting with grand statements of glamour and love on her debut effort. For the new album, the artist maintains a darker and overly depressing outlook on relationships and life, singing of her love for troubled men and the destructive nature of fame. Vocals across the eleven-track album are true perfection, breathy and irresistible, but unfortunately none of the songs truly reach the level of the memorable, pop-laced tunes found on her first outing. The sound and concept starts to blend into one and the same, becomes a tad boring, and never finds a distinctive footing.
Tracks to Hear: "Ultraviolence", "Brooklyn Baby", "Sad Girl" and "Money Power Glory"
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