12:00 AM, November 19, 2015 / LAST MODIFIED: 12:00 AM, November 19, 2015



Lana del Rey had actually hinted that she started working Honeymoon almost as soon as Ultraviolence was done, which made it a very long wait. Fortunately, Honeymoon, which finally officially released on the 18th of September, doesn't contain any of those leaked songs from 2011-2013 which many fans feared it would, and the album is totally fresh, post-fame Lana. 

There are twelve original songs, one cover and one interlude on the album. It's definitely not an album that displays variety or versatility; all of the songs fall into the same genre and convey the same imagery. 

Lana had said she had been looking for the legal rights to cover a few songs, but had trouble acquiring them. She probably could have generated a lot more hype if she had covered bands like Guns N’ Roses or Nirvana (as she has done in live concerts) but probably settled on Nina Simone jazz record “Don't Let Me Be Misunderstood” because it spoke of how she felt at the moment. “The Blackest Day” serves you a dose of pure David Lynch melodrama. The vocals are multi-tracked and harps strumming as she appeals to God. The music is barely there, it sounds like beats pulsing from the Malibu beach house next door. This makes del Rey's voice the main focus, which is pretty much the idea of her music, generally. In “Swan Song”, Lana contemplates retirement and uses an Ayn Rand reference to tell you she wants to let go of the glamour. “Religion” and “24” are the most forgettable songs on the list and are dips in the 12-track Honeymoon glide. “God Knows I Tried” is repetitive, but the Hotel California reference makes it cool. Lana goes all Spanish exotic in “Salvatore” and it's good enough, a little different from the rest of the album. When Honeymoon was released on iTunes, a Honeymoon Hotline was launched and if you dialled the number, you would hear Lana reciting a T.S. Eliot poem and asking you which Honeymoon song you'd like to hear. That's “Burnt Norton”. “Terrence Loves You” is Lana's favourite on the album, and it's clear why, because this song showcases her voice the best. “Freak” is similar to Florida Kilos from her previous album, less upbeat, but there's still some good drumming. “Art Deco”'s electronic intro and outro is everything. The imagery in the title track is a work of art. The intro sounds like the credits are about to roll on a 30's spy movie. “Music to Watch Boys To” is one of the best. There are actually hints of flute music in the background and it marries exquisitely with Lana singing about love and lemonade. It's a whole package of perfection, the music, the lyrics, the cover art, the music video. “High by the Beach” is my absolute, unparalleled favourite. It's almost like the tune of “Shades of Cool” meets the vibe of “Money, Power, Glory” with an extra helping of spunk. The subtle music and strong vocals is a match made in heaven, and the music video brimming with subliminal messages is a work of art.

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