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Alternative en Indie - Verschenen op 30 augustus 2019 | Polydor Records

Onderscheidingen Pitchfork: Best New Music
Her sensual voice is irresistible. Elizabeth Grant, aka Lana Del Rey, could sing the instruction manual for a wireless vacuum cleaner and she would still have our full attention. Even when she invites the whole world to join her (A$AP Rocky, The Weeknd, Stevie Nicks and Sean Lennon all featured on Lust For Life, her album released in 2017), she lives in her own little world where time moves slow and melancholy reigns supreme. Making music is her way of talking about her era, her contemporaries, the American Dream and, as far as we can tell, herself... With its shocking title, stylised album cover (featuring Duke Nicholson, Jack Nicholson’s grandson, aboard a boat sailing away from a burning coast) and her particularly slow tempos (only ballads here), Norman Fucking Rockwell! is largely rooted in folk. Del Rey roams around this great soundscape, more melancholic and evanescent than ever. She closely collaborated with Jack Antonoff on this album (a sought-after producer for pop stars such as Taylor Swift, St. Vincent, Lorde, Carly Rae Jepsen and Pink) and the producer shapes her melancholy with equal amounts of sobriety and slickness. The slow rhythms on this beautiful record offer a welcome break from the turbulence of today. One of the tracks that stands out is a cover of Sublime’s Doin’ Time (1996), itself a new interpretation of Gershwin’s Summertime, offering further proof of Lana Del Rey’s originality, something which is much more complex than some would have us believe... © Marc Zisman/Qobuz
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Pop - Verschenen op 19 maart 2021 | Polydor Records

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Like everybody else, Lana Del Rey is playing hide-and-seek with quarantine. For her seventh album, the New Yorker based in Los Angeles has opted for hushed intimacy, bedroom melodies and confessional arrangements. With Chemtrails Over the Country Club, her pop is folkier than ever, although the echo and reverb in which her exquisite, sensual and hypnotic voice basks set her high above the clouds. This folk idiom fascinates her to the point that she closes out this record (with some help from Natalie Mering aka Weyes Blood and Zella Day) with a magnificent cover of Joni Mitchell's For Free, taken from her album Ladies of the Canyon (1970). There are also those guitars with an air of the Laurel Canyon 70's scene about them on Not All Who Wander Are Lost, and the equally pure guitar sounds that open Yosemite. As usual, Lana Del Rey takes out her pen to decry the torments of celebrity and the star system, starting with White Dress which opens the album, regretting the good old days when she was a barmaid, unknown and listening to Sun Ra, Kings Of Leon and the White Stripes "when they were white hot". Further on, she offers up more references to the music history as on Breaking Up Slowly (a duet with Nikki Lane) where she addresses the marital storms between those two legends of country music, Tammy Wynette and George Jones. On song after song, this solitary amazon soldiers on, not battling for any particular cause, just doing what is right by her own lights ("Well, I don't care what they think. Drag racing my little red sports car. I'm not unhinged or unhappy, I'm just wild"). Chemtrails Over the Country Club shows above all that she excels in the art of storytelling, wielding her tweezers to fine-tune every detail of her lyrics. At 35, Lana Del Rey has arguably released her freest and most accomplished album. © Marc Zisman/Qobuz
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Alternative en Indie - Verschenen op 30 januari 2012 | Polydor Records

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Met haar zwoele, geaffecteerde stemgeluid pakte Lana Del Rey tegen het einde van 2011 in één klap de muziekwereld in door middel van de singles "Blue Jeans" en" Video Games". Born to Die werd daarmee aantoonbaar het langstverwachte album van 2012. Het album demonstreert waar Lana Del Rey toe in staat is. De single "Born to Die" is een typisch voorbeeld van haar dramatische soort popmuziek. © TiVo
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Alternative en Indie - Verschenen op 19 april 2017 | Polydor Records

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Aan de vooravond van haar vierde studioalbum kondigt de Amerikaanse zangeres Lana Del Rey aan nieuwe wegen in te willen slaan. Toch presenteert de 32-jarige zangeres op Lust For Life (2017) wederom melancholieke popsongs, die worden gekenmerkt door een onderkoelde ondertoon. Enige vreemde eend in de bijt is het nummer "Summer Bummer", dat een gastoptreden van de rappers ASAP Rocky en Playboi Carti kent. © TiVo
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Alternative en Indie - Verschenen op 16 juni 2014 | Polydor Records

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Met haar derde album Ultraviolence scoort de Amerikaanse zangeres Lana Del Rey in 2014 haar eerste nummer 1-album in de U.S. Billboard 200. Op de plaat perfectioneert de singer-songwriter haar stijl verder. Wederom draait het bij Del Rey om smaakvol geproduceerde popsongs, die enige verdieping krijgen door de jazzy vocalen van de zangeres. Als singles worden de nummers "Brooklyn Baby", "West Coast", "Shades of Cool" en "Ultraviolence" uitgebracht. © TiVo
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Alternative en Indie - Verschenen op 18 september 2015 | Polydor Records

In 2014 levert zangeres Lana Del Rey het album Ultraviolence af en jaar later is er al de opvolger: Honeymoon. De Amerikaanse werkt op het nieuwe album samen met songschrijver Rick Nowels, die ook aan haar debuutalbum meewerkte. Naast de gepolijste (indie)popsongs waar we Del Rey van kennen, is op het album ook een cover te vinden van Nina Simone's "Don't Let Me Be Misunderstood". © TiVo
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Alternative en Indie - Verschenen op 16 juni 2014 | Polydor Records

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Met haar derde album Ultraviolence scoort de Amerikaanse zangeres Lana Del Rey in 2014 haar eerste nummer 1-album in de U.S. Billboard 200. Op de plaat perfectioneert de singer-songwriter haar stijl verder. Wederom draait het bij Del Rey om smaakvol geproduceerde popsongs, die enige verdieping krijgen door de jazzy vocalen van de zangeres. Als singles worden de nummers "Brooklyn Baby", "West Coast", "Shades of Cool" en "Ultraviolence" uitgebracht. © TiVo
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Pop - Verschenen op 1 januari 2012 | Urban

Booklet
Met haar zwoele, geaffecteerde stemgeluid pakte Lana Del Rey tegen het einde van 2011 in één klap de muziekwereld in door middel van de singles "Blue Jeans" en" Video Games". Born to Die werd daarmee aantoonbaar het langstverwachte album van 2012. Het album demonstreert waar Lana Del Rey toe in staat is. De single "Born to Die" is een typisch voorbeeld van haar dramatische soort popmuziek. © TiVo
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Alternative en Indie - Verschenen op 20 mei 2021 | Polydor Records

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Alternative en Indie - Verschenen op 9 augustus 2019 | Polydor Records

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Alternative en Indie - Verschenen op 1 januari 2013 | Polydor Records

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Pop - Verschenen op 19 maart 2021 | Polydor Records

Like everybody else, Lana Del Rey is playing hide-and-seek with quarantine. For her seventh album, the New Yorker based in Los Angeles has opted for hushed intimacy, bedroom melodies and confessional arrangements. With Chemtrails Over the Country Club, her pop is folkier than ever, although the echo and reverb in which her exquisite, sensual and hypnotic voice basks set her high above the clouds. This folk idiom fascinates her to the point that she closes out this record (with some help from Natalie Mering aka Weyes Blood and Zella Day) with a magnificent cover of Joni Mitchell's For Free, taken from her album Ladies of the Canyon (1970). There are also those guitars with an air of the Laurel Canyon 70's scene about them on Not All Who Wander Are Lost, and the equally pure guitar sounds that open Yosemite. As usual, Lana Del Rey takes out her pen to decry the torments of celebrity and the star system, starting with White Dress which opens the album, regretting the good old days when she was a barmaid, unknown and listening to Sun Ra, Kings Of Leon and the White Stripes "when they were white hot". Further on, she offers up more references to the music history as on Breaking Up Slowly (a duet with Nikki Lane) where she addresses the marital storms between those two legends of country music, Tammy Wynette and George Jones. On song after song, this solitary amazon soldiers on, not battling for any particular cause, just doing what is right by her own lights ("Well, I don't care what they think. Drag racing my little red sports car. I'm not unhinged or unhappy, I'm just wild"). Chemtrails Over the Country Club shows above all that she excels in the art of storytelling, wielding her tweezers to fine-tune every detail of her lyrics. At 35, Lana Del Rey has arguably released her freest and most accomplished album. © Marc Zisman/Qobuz
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Alternative en Indie - Verschenen op 20 mei 2021 | Polydor Records

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Alternative en Indie - Verschenen op 30 januari 2012 | Polydor Records

Booklet
Met haar zwoele, geaffecteerde stemgeluid pakte Lana Del Rey tegen het einde van 2011 in één klap de muziekwereld in door middel van de singles "Blue Jeans" en" Video Games". Born to Die werd daarmee aantoonbaar het langstverwachte album van 2012. Het album demonstreert waar Lana Del Rey toe in staat is. De single "Born to Die" is een typisch voorbeeld van haar dramatische soort popmuziek. © TiVo
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Pop - Verschenen op 19 november 2020 | Polydor Records

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Alternative en Indie - Verschenen op 19 april 2017 | Polydor Records

Booklet
Aan de vooravond van haar vierde studioalbum kondigt de Amerikaanse zangeres Lana Del Rey aan nieuwe wegen in te willen slaan. Toch presenteert de 32-jarige zangeres op Lust For Life (2017) wederom melancholieke popsongs, die worden gekenmerkt door een onderkoelde ondertoon. Enige vreemde eend in de bijt is het nummer "Summer Bummer", dat een gastoptreden van de rappers ASAP Rocky en Playboi Carti kent. © TiVo
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Alternative en Indie - Verschenen op 9 augustus 2019 | Polydor Records

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Alternative en Indie - Verschenen op 20 mei 2021 | Polydor Records

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Alternative en Indie - Verschenen op 10 december 2012 | Polydor Records

Booklet
Even after selling nearly three million copies of her debut album worldwide, Lana Del Rey still faced a challenge during 2012: namely, proving to critics and fans that Born to Die wasn't a fluke. In that spirit, she released Paradise, a mini-album close to Christmas, one that finds her copying nearly wholesale the look and feel of her vampish Born to Die personality. The sound is also very familiar. Strings move at a glacial pace, drums crash like waves in slow motion, and most of the additional textures in these songs (usually electric guitar or piano) are cinematic in their sound and references. Del Rey is in perfect control of her voice, much more assured than she was even one year ago, and frequently capable of astonishing her listeners with a very convincing act, even while playing nearly the same character in each song. There's really only one difference between Born to Die and Paradise, but it's a big one. Instead of acting the softcore, submissive, '60s-era plaything, here she's a hardcore, wasted, post-millennial plaything. She even goes so far as to tell her audience that she likes it rough (in words that earned the album a parental advisory sticker), to ask whether she can put on a show, and at her most explicit, proffering a simile that compares the taste of an intimate part of her anatomy to Pepsi. Granted, at the age of 26, she still has a few things to learn about lyricism, also resorting to cliché and baby talk in a manner that may fit the persona in a song, but doesn't result in great songwriting. (For examples, check "Body Electric," with the lines "Elvis is my daddy, Marilyn's my mother, Jesus is my bestest friend" and "We get crazy every Friday night, drop it like it's hot in the pale moonlight.") For all the progress and growth Del Rey shows in the vocal realm, her songwriting appears to be in stasis and the productions behind her have actually regressed from Born to Die. (The inclusion of a cover, "Blue Velvet," is not only a perfect match for her style, but also a hint that she performs up to better material.) Still, all of this is merely the fodder for her continuing controversy and popularity. Del Rey puts it better here than anyone else, with another simile: "Like a groupie incognito posing as a real singer, life imitates art." © John Bush /TiVo
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Alternative en Indie - Verschenen op 17 mei 2019 | Polydor Records

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