Lana Del Rey - Ultraviolence

Lana Del Rey’s sophomore album Ultraviolence is now a week away from release, and we’ve heard a handful of complete tracks: “West Coast,” “Shades Of Cool,” the title track, “Brooklyn Baby.” Now we’ve got clips of six other album tracks, too: “Fucked My Way Up To The Top,” “Money Power Glory,” “Pretty When You Cry,” “Sad Girl,” “Cruel World,” and “The Other Woman.” We only hear a tiny bit of each, and it’s not really enough to render judgement on them, but the previews do serve as further evidence that the album is very dialed-in to a very particular aesthetic. Listen here.

Ultraviolence is out 6/17 on Interscope.

Comments (9)
  1. This is a distorted preview collection from a vendor site (it’s a fan channel on youtube)
    This is the source somewhat better quality:

  2. Much like the Coldplay scenario, there seems to be a big shift from anti to pro LDR folks around here, and it’s confusing to me. Also, similarly, the music is inoffensive and generally inconsequential (qualifier alert: this is my opinion!). I don’t get the new found love.

    It’s like she’s trying to remake Chris Isaak’s “Wicked Games” over and over, except that song was awesome. Add some black and white beach videos into the mix – baby, you gotta stew goin’! And by ‘stew’ I mean pale facsimile.

    • Maybe because the hater’s have moved on to greener pastures? Or maybe because you can bring up SNL and Chris Isaak only so many times, and then you have to come up with something original to say? Or maybe because the anti-LDR folks suddenly had an epiphany and realized that all their hateful comments in the past was wrong and they have now decided to atone for past sins by becoming pro-LDR?

      • You’re acting as though he is attacking LDR personally, and I think that your response is part of the problem that HartfordTheWhale is trying to discuss. The issue is that LDR fans have seemingly become more in love with the concept of her character than the content of her art.

        I personally think it’s a problem when I’m told over and over and over again that something is the “next big thing” and that I should love it, without being shown any actual justification for the hyperbolic praise.

        • I’m not sure if I qualify as an “LDR fan” since I only liked a few songs off “Born To Die,” but your claim that people are only into her image and not her music seems like an unsupportable generalization. The songs I’ve heard off of “Ultraviolence” seem more refined and more robust in terms of the melody and instrumentation. “West Coast” and “Shades of Cool” are just great songs.

          As someone who is not a hater or a stan for LDR, I think it’s apparent she’s evolving and getting better at her craft. Asking people to ignore that because Pitchfork decreed that LDR is no longer welcome in the cool-kids club is supporting exactly the kind of puerile brand politics that you are supposedly criticizing.

          BTW nothing LDR has put out sounds even half as much like “Wicked Game” as, say, every single song by the xx. The takeaway from that is that “Wicked Game” is an awesome song.

          • I guess I’m saying two things here, which I’m trying to mash into one thing:

            1) That LDR’s music has never wowed me as much as it seems to wow a lot of other people, so I never ‘got’ the hype and don’t get why everyone seems to be loving these new tracks and jumping back on board for the new album. There’s nothing wrong with the music, but I feel like there are a lot of better, more interesting musicians (especially female singer/songwriters) out there who should be getting more attention than her but aren’t. That’s just an opinion thing that I should learn to live with.

            2) This was brought up in the Coldplay comments, but there does seem to be a trend of the ‘taste makers’ re-accepting mainstream music on a pretty large scale. My concern with this is not that music made for large audiences can’t be good, but that the trend – a reaction to the prevailing exclusionary attitude of the last 10 years – is swinging much too quickly in the opposite direction, and is becoming a movement that frowns upon criticism as much as it heralds an “all of our opinions and personal tastes are as valid as the next” attitude. I’m generally a “to each their own” kind of person, but not all art is created equal, or is worthy of the same attention (on a critical level) than the next. I think we lose the ability to differentiate interesting/entertaining/fun/enjoyable/accessible from what has actual artistic merit when we drown out criticism and force the idea that all art and opinions of art are equal. There is, to be sure, a difference between saying “this music is ear garbage” and taking a real, critical look at an album, I just hope we don’t lose the latter because there were too many people doing the former.

            What does this have to do with my comments about LDR? I think, within this trend, people in this community are perhaps giving more leniency to her (and similar musicians) than they would have a few years ago, and being less accepting of vocal criticism. Granted, this is coming from someone who just said they don’t generally like the music, so take that for what it’s worth. Also, granted, my original comments were vague, subjective and superficial, so maybe I should be more specific with my criticisms.

    • I think when West Coast hit, which BTW I still think is great, we all respectively agreed that maybe she had figured out how to create a hybrid style off her past approach, then Shades of Cool came along and it sorta reinforced that idea, albeit slightly. Then Brooklyn Baby followed by all these and all of sudden our crackers aren’t Ritz anymore… there more like regular ole Saltines

  3. It is funny how some people think that LDR is not “relevant” to the music scenario and pop culture, but still, people waste their time talking about her. I think the character she created (or whoever did it for her) and the content she sells complete each other and they are great.

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