ALBUM REVIEW: Lana Del Ray – ‘Ultraviolence’

The icon with looks that could kill is back, and even stronger than before.
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With 7 million albums and 12 million singles sold to date, along with 1 billion hits on YouTube to accompany, it can’t be denied that Lana Del Rey is taking over the world of music with sheer brute force, disguised by excessive beauty and charisma.

Only a few days after release, second album Ultraviolence has achieved an astounding number one charting in 80 countries across the globe. Acting as a following from her equally well received debut, Born To Die, Ultraviolence was recorded at Black Keys front-man and guitarist Dan Aurbech’s Easy Eye Sound Studio in Nashville, and respectively produced, mainly, by Aurbech himself.

Straight from the off, Ultraviolence boasts Lana’s talents which hundreds of thousands of people across the globe fell in love with from their first taste. There’s an eerie sense throughout as the albums runs from track to track, particularly felt in ‘Ultraviolence’. Lana always appears as a persona who has been damaged by the inevitable end result in love, and is filled with an amount of pain and despair so strong it is almost unbearable.

Del Rey has always given off an estranged, dark and mystical element through her music, and this is once again the case, with this being one of the most significant aspects to her appeal. Each lyrical utterance pulls at the mind waves – ‘Shades Of Cool’ has essences of a troublesome association with another lover, with complications and senses of suspicion, jealously and pride as Lana almost seems to be boasting about her lover in the line: “…and when he calls, he calls for me, and not for you.”

Along with ‘West Coast’, ‘Shades Of Cool’ tells a tale of a newly found love, that due to its consequential situation, will take an inevitable turn for the worst; without choice, heartache will once again be the result. Ultimately this result is shown through the following tracks title, ‘Sad Girl.’ This trend of despair, distrust, lust, regret and pain – all ultimately a result of the conviction of love – flow throughout the whole album from start to finish, and it makes you think very hard about who you trust and just what could happen if you trust the wrong person.

Rather interestingly, an influence from Aurbech can be felt throughout the album alongside Lana simultaneously, with a hint of blues guitar. Flanger and Chorus guitar effects appearing noticeably strong, and with numerous solos found throughout, it appears that Lana is adding more attitude to her personality, which to many, was seemingly impossible.

Fans of both Lana and The Black Keys may begin to wonder whether Aurbech’s time had some amount of influence on The Key’s latest album, Turn Blue. It must be said, this shift much better suits Del Ray, and although Aurbech may have took a fancy to it, it should have stayed clear of The Black Key’s arsenal.

As for Lana, she is once again impeccable. Her voice could easily fill a cathedral and still push the walls to the limits. Ultraviolence’is blustering with so much power it is hard hitting, leaving you to feel what Lana is trying to make you feel, which is an accomplishment in itself nowadays.

James Cummins

@CummyBear

James Cummins

James Cummins

James Cummins

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