|Lana Del Rey — Lust For Life (July 21, 2017)|
Lana Del Rey — Lust For Life (July 21, 2017) • Vocalist who makes atmospheric orchestral pop showcasing her torchy image and sensuously husky singing style.
Birth name: Elizabeth Woolridge Grant
Also known as: Lana Del Ray Lizzy Grant May Jailer
Born: June 21, 1985, New York City, New York, U.S.
Origin: Lake Placid, New York, U.S.
Genre: Baroque pop, dream pop, rock, trip hop, Adult Alternative Pop/Rock
Album release: July 21, 2017
Record Label: Polydor/Interscope/Universal
01 Love 4:33
02 Lust for Life [ft. The Weeknd] 4:24
03 13 Beaches 4:56
04 Cherry 3:01
05 White Mustang 2:45
06 Summer Bummer [ft. A$AP Rocky and Playboi Carti] 4:21
07 Groupie Love [ft. A$AP Rocky] 4:24
08 In My Feelings 3:59
09 Coachella — Woodstock in My Mind 4:18
10 God Bless America — And all the Beautiful Women in It 4:36
11 When the World Was at War We Kept Dancing 4:36
12 Beautiful People Beautiful Problems [ft. Stevie Nicks] 4:14
13 Tomorrow Never Came [ft. Sean Ono Lennon] 5:08
14 Heroin 5:55
15 Change 5:21
16 Get Free 5:34
• Emile Haynie / Benjamin Levin / Rick Nowels / Lana Del Rey 1
• Max Martin / Rick Nowels / Lana Del Rey / Abel Tesfaye 2
• Rick Nowels / Lana Del Rey 3, 5, 8, 9, 10, 14, 15
• Tim Larcombe / Lana Del Rey 4
• Playboi Carti / Andrew Joseph Gradwohl, Jr. / Rakim Mayers / Lana Del Rey / Matthew Samuels / Jahaan Sweet / Tyler Williams 6
• Rakim Mayers / Rick Nowels / Lana Del Rey 7
• Rick Nowels / Dean Reid / Lana Del Rey 11
• Stevie Nicks / Rick Nowels / Justin Parker / Lana Del Rey 12
• Sean Lennon / Rick Nowels / Lana Del Rey 13
• Kieron Menzies / Rick Nowels / Lana Del Rey 16
• Lana Del Rey (also exec.), Rick Nowels (also exec.), Benny Blanco, Boi~1da, Hector Delgado, Emile Haynie, Max Martin, Kieron Menzies, Dean Reid, Jahaan Sweet.
Lana Del Rey, Lust For Life: this pop star for the selfie generation is about as real as it comes — review
Neil McCormick, 20 JULY 2017 • 6:21PM • Score: ****
• Lana Del Rey is one of the pop stars of our age, a self~made, self~styled, self~obsessed icon for the selfie generation. Her entire oeuvre has effectively been a microscopic examination of her own neuroses, presented as a filtered fantasy of instagram glamour, where the soft focus somehow only serves to emphasise jagged edges lurking beneath the surface. Her lush, bittersweet songs (and videos and fashion photos) exist on a knife edge between Hollywood dreams and harsh reality, essaying a seductive melancholy fuelled by depression, self~hatred, abusive relationships and narcotic dependency.
• “Beautiful problems, God knows we’ve got them,” she sighs with forlorn emphasis on Beautiful People Beautiful Problems. The title is typical Del Rey, both mordantly funny yet genuinely sad. She has been ludicrously attacked for being inauthentic in the past. When the unknown singer~songwriter released a compelling lo~fi home~made video clip in 2011, the world almost instantly fell in love with her 21st Century take on the Femme Fatale. But it wasn’t long before trolls rounded on her, misogynistically speculating about whether her beauty had been surgically enhanced and denouncing her particular brand of artifice as hypocritical, as if modern pop was some kind of bastion of gritty authenticity. She was clearly wounded and remains sensitive to attacks. “Critics can be mean sometimes,” she sings at one point on her latest album. Yet each new release confirms her status as a genuinely original performance pop artist who treats her career as a kind of living art installation. Del Rey’s perfect artifice has been to dress up harsh truth in the gauzy balm of seductive pop.
• On In My Feelings, a swirling, claustrophobic song about rejecting an uncaring lover, she declares “I’m feeling all my fucking feelings” with a powerful sense of ownership of her pain, a quality that turns misery on its head. She has a little bit of Morrissey’s merciless wit about her, making big, bald statements about sadness so unabashed they almost pass for humour. Del Rey has sometimes been characterised as a modern day torch singer but on Lust For Life she sounds like she is finally ready to take that torch and burn down her ex’s house with it.
• Lust For Life lets a bit of light into the darkness of Del Rey’s moody past works, hinting at emotional recovery without drastically altering her sensuous musical palette. There is a welcome throwback to the hip hop swagger that pushed through her fantastic 2012 debut Born To Die, shifting away from the dense narcoleptic darkness of 2014’s Ultraviolence and beautiful minimalist ennui of 2015’s Honeymoon. Her preferred tempos are still slow, slow and really, really slow, with a preponderance of ballads, but there’s a sense of heightened drama in punchy Phil Spector style sixties back beats and the way the heavy timpani criss~crosses with echoing digital trap beats, all swathed in a gauzy haze of Shangri Las style girl group harmonies. To my mind, the real secret of Del Rey’s success is no secret at all: she writes catchy, melodic, meaningful songs fashioned with a distinctive blend of classic songwriting and glitchy, modern scruffed~up digital beats and ambience.
• Where Lust For Life really opens up is in a flavour of acoustic folksiness that starts to manifest in the second half of the overlong sixteen track album, with the songwriter actually breaking away from contemplating her own problems to address the state of the nation. On Coachella — Woodstock In My Mind, God Bless America — And All The Beautiful Women In It, and When The World Was At War We Kept Dancing she mixes up ideas of personal anxiety in the age of Trump with notions of how previous generations have faced times of political hardship. Her anthemic purposefulness breathes a bit of light and air into Del Rey’s usual pervasive gloominess, as do duets with The Weeknd (their voices entwine with an erotic simpatico on the title track) and Stevie Nicks (her fantastically gnarly vocal personifying female strength on Beautiful People, gorgeously swathed in layers of Del Rey’s breathy harmonies). A Sean Lennon duet on Tomorrow Never Came, though, may be a little too pleased with itself, full of meta~references to other song titles, with Del Rey admiring “Lennon and Yoko” before gushing to find herself “singing with Sean, wow!” It is not the only moment where Del Rey gets it clunkily wrong. The closing track, Get Free, is an overly wordy manifesto for personal change completely undermined by the fact that she has blatantly stolen the verse chord progression and melody from Radiohead’s Creep, a much better outsider pop manifesto. I wouldn’t be at all surprised if law suits ensue. Well, even beautiful people have problems.
• But credit where it is due: as a quartet of albums, Del Rey’s opening gambit has been as impressive as any major artist in pop today. Del Rey’s image may have come from swathing herself in seductive illusions but there is powerful truth telling in her songs. Having alluded to drug problems in the past, Heroin may raise eyebrows amongst even her most devoted fans, a warped, dreamy, desperate but ultimately uplifting track about escaping a downward spiral of addiction to bad love and worse drugs. “I’d be lying if I said I wasn’t sick of it,” concludes Del Rey. A narrative emerges through Lust For Life that sees our heroine dragging herself away from addictive but destructive relationships, opening herself to the wider world, and making a commitment to positive change, an emotional progression that is matched with subtle sonic shifts in her downbeat template. Del Rey’s big hair and fake lashes should not distract from the fact that as an original, distinctive, modern pop artist, she is about as real as it comes. • http://www.telegraph.co.uk/
• Lana Del Ray (2010, jako Lizzy Grant)
• Born to Die (2012)
• Ultraviolence (2014)
• Honeymoon (2015)
• Lust for Life (2017)
|Lana Del Rey — Lust For Life (July 21, 2017)|