Lana Del Rey's new album, Ultraviolence, has been greeted with a fair amount of praise for being an improvement of her previous effort Born to Die which contained a multitude of hit songs but as an album, it wasn't very coherent. Lana Del Rey's new album lives up to this praise, the collection of songs are much more interlinked and brooding than Born to Die. Del Rey's aesthetic may prove off-putting for some, but one can't ignore the musical potential shown on this LP.
Cruel World: Grade - A-. The opening track of the LP is an epic, spaghetti-western infused scene setter for the rest of the album. The beautiful instrumentals combined with Del Rey's languorous vocal delivery make this one of the albums strongest tracks.
Ultraviolence: Grade - A. This track is reminiscent of a very dark, disturbed bond theme. The song has very dark lyrical content that has shown to be controversial. The dramatic piano and synthesizers amplify the bond-like atmosphere created by the song to create an epic and unflinching track that is amongst the album's best.
Shades of Cool: Grade - B. This track's major downfall is it's placement in the album, on it's own the track is almost comparable to the album's very best due to its dream-like instrumental and vocals. Despite this, the song feels repetitive due to its similarity to the previous two tracks.
Brooklyn Baby: Grade - C+. Like Shades of Cool, the placement of the song in the album makes it repetitive. Unlike Shades of Cool, Brooklyn Baby sounds quite bland in comparison to the previous tracks, although, the lyrical content is strong, with lines like ''my boyfriend's pretty cool, but he's not as cool as me'', but the actual song and vocals don't let the lyrics shine like they should.
West Coast: Grade - A+. Arguably the album's best track, the sinister, addictive hook that overlays the song is a very welcome break from the light, dreamy aesthetic of the earlier songs. The lyrics relate to Del Rey's aesthetic of debauchery and fame on the 'West Coast'. The track is also a scene setter for the latter half of the album which becomes progressively bleaker, darker and more cohesive.
Sad Girl: Grade - A. This track employs the best use of Del Rey's vocal abilities, with her voice sounding restrained yet soaring at points. The instrumentals are also highly impressive, they complement the vocals and, unlike many tracks on the LP, are quite varied which helps disband the repetitive feel of the earlier songs.
Pretty When You Cry. Grade - A-. This track has a buildup similar to Sad Girl and could be seen as a sequel of sorts. The song progresses the themes employed on Sad Girl about being let down, a theme relevant to the whole album. While sounding just as good as Sad Girl, the lyrics don't pack the same punch. Nonetheless, the song is another outstanding addition to the album.
Money Power Glory. Grade - A+. Another standout song, this song is one of the most catchiest on the LP, with the understated instrumentals contrasting with Del Rey's vocal delivery but managing to rise to the occasion during the exceptional chorus which proclaims the title of the song. Like Ultraviolence, the song has a bond-feel that makes this track extra stylish and exhilarating. Like West Coast, this song has the greatest single potential and is another sign of Del Rey's progression.
F**ked My Way Up To The Top. Grade - A-. The most tongue in cheek song on the album, this song is representative of how many men wrongfully view powerful women. Del Rey uses the song to explore gender stereotypes and perceived male dependence, a theme that Del Rey refers to throughout the LP and, in my view parodies. The recurrence of female dependence of males throughout the album is one that has caused debate within the music industry, this song and the album in general are, in my view, a critique on this stereotype that has plagued the music industry.
Old Money. Grade - B. This song has beautiful instrumentals but, when compared to the previous tracks, it isn't very comparable. I wouldn't go as far to say it's a filler track, but certainly not a necessary one.
The Other Woman. Grade - A. The closing track takes the best elements out of Born to Die and Ultraviolence to encapsulate the aesthetic Del Rey portrays through the Golden Hollywood Era style instrumentals and vocals. The strength of the closing track rests on its coherence in relation to the rest of the album as it explores the themes discussed in the others songs as well as showing Del Rey's unrelenting desire not to alter her aesthetic. Ending the album with this song demonstrates Del Rey's progression as she crafts a song that captures the styles shown in much of her previous catalog. While not as catchy or memorable as some of the previous songs, it is a bold ending to an exceptional second album.
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