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Lana Del Rey|Ultraviolence

Ultraviolence

Lana Del Rey

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The maelstrom of hype surrounding self-modeled Hollywood pop star Lana Del Rey's 2012 breakthrough album, Born to Die, found critics, listeners, and pop culture aficionados divided about her detached, hyper-stylized approach to every aspect of her music and public persona. What managed to get overlooked by many was that Born to Die made such a polarizing impression because it actually offered something that didn't sound like anything else. Del Rey's sultry, overstated orchestral pop recast her as some sort of vaguely imagined chanteuse for a generation raised on Adderall and the Internet, with heavy doses of Twin Peaks atmosphere adding a creepy sheen to intentionally vapid (and undeniably catchy) radio hits. Follow-up album Ultraviolence shifts gears considerably, building a thick, slow-moving atmosphere with its languid songs and opulent arrangements. Gone are the big beats and glossy production that resulted in tracks like "Summertime Sadness." Instead, Ultraviolence begins with the protracted, rolling melancholia of "Cruel World," nearly seven minutes of what feels like a sad, reverb-drenched daydream. The song sets the stage for the rest of the album, which simmers with a haunted, yearning feeling but never boils over. Even the most pop-friendly moments here are steeped in patient, jazz-inflected moodiness, as with the sad-eyed longing of "Shades of Cool" or the unexpected tempo changes that connect the slinky verses of single "West Coast" to their syrupy, swaying choruses. Production from the Black Keys' Dan Auerbach might have something to do with the metered restraint that permeates the album, with songs like "Sad Girl" carrying some of the slow-burning touches of greasy blues-rock Auerbach is known for. A few puzzling moments break up the continuity of the album. The somewhat hooky elements of "Brooklyn Baby" can't quite rise above its disjointed song structure and cringeable lyrics that could be taken either as mockery of the hipster lifestyle or self-parody. "Money Power Glory" steps briefly out of the overall dreamscape of the album, sounding like a tossed-off outtake from the Born to Die sessions. Despite these mild missteps, Ultraviolence thrives for the most part in its density, meant clearly to be absorbed as an entire experience, with even its weaker pieces contributing to a mood that's consumptive, sexy, and as eerie as big-budget pop music gets. Del Rey's loudest detractors criticized her music as a hollow, cliché-ridden product designed by the music industry and lacking the type of substance that makes real pop stars pop. Ultraviolence asserts that as a songwriter, she has complete control of her craft, deciding on songs far less flashy or immediate but still uniquely captivating. As these songs shift her sound into more mature and nuanced places, it becomes clear that every deadpan affectation, lispy lyric, and overblown allusion to desperate living has been a knowing move in the creation of the strange, beguiling character -- and sonic experience -- we know as Lana Del Rey.
© Fred Thomas /TiVo

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Ultraviolence

Lana Del Rey

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1
Cruel World Explicit
00:06:39

Kenny Vaughan, Guitar, AssociatedPerformer - John Davis, Mastering Engineer, StudioPersonnel - Robert Orton, Mixer, StudioPersonnel - Leon Michels, Synthesizer, Mellotron, AssociatedPerformer - Nick Movshon, Bass Guitar, AssociatedPerformer - Russ Pahl, Pedal Steel, AssociatedPerformer - Dan Auerbach, Producer, Electric Guitar, AssociatedPerformer - Lana Del Rey, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Collin Dupuis, Engineer, StudioPersonnel - Blake Stranathan, ComposerLyricist - Maximilian Weissenfeldt, Drums, AssociatedPerformer - Seth Kaufman, Synthesizer, AssociatedPerformer

℗ 2014 Lana Del Rey

2
Ultraviolence
00:04:11

Kenny Vaughan, Electric Guitar, AssociatedPerformer - John Davis, Mastering Engineer, StudioPersonnel - Leon Michels, Synthesizer, AssociatedPerformer - Nick Movshon, Electric Bass, AssociatedPerformer - Russ Pahl, Pedal Steel, AssociatedPerformer - Dan Auerbach, Producer, Mixer, Electric Guitar, AssociatedPerformer, StudioPersonnel - Regina McCrary, Background Vocalist, AssociatedPerformer - Ann McCrary, Background Vocalist, AssociatedPerformer - Lana Del Rey, Vocals, Background Vocalist, MainArtist, AssociatedPerformer, ComposerLyricist - Collin Dupuis, Mixer, Engineer, Programmer, StudioPersonnel - Daniel Heath, ComposerLyricist - Seth Kauffman, Electric Guitar, AssociatedPerformer - Maximilian Weissenfeldt, Drums, AssociatedPerformer - Alfreda McCrary Lee, Background Vocalist, AssociatedPerformer - Leon Micheals, Piano, Mellotron, AssociatedPerformer

℗ 2014 Lana Del Rey

3
Shades Of Cool
00:05:42

Kenny Vaughan, Guitar, AssociatedPerformer - John Davis, Mastering Engineer, StudioPersonnel - Robert Orton, Mixer, StudioPersonnel - Leon Michels, Mellotron, AssociatedPerformer - Nick Movshon, Bass Guitar, AssociatedPerformer - Rick Nowels, ComposerLyricist - Russ Pahl, Guitar, AssociatedPerformer - Dan Auerbach, Producer, Electric Guitar, AssociatedPerformer - Lana Del Rey, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Collin Dupuis, Engineer, Programmer, StudioPersonnel - Maximilian Weissenfeldt, Drums, AssociatedPerformer - Seth Kaufman, Keyboards, AssociatedPerformer

℗ 2014 Lana Del Rey

4
Brooklyn Baby Explicit
00:05:51

Kenny Vaughan, Acoustic Guitar, AssociatedPerformer - John Davis, Mastering Engineer, StudioPersonnel - Robert Orton, Mixer, StudioPersonnel - Leon Michels, Percussion, Tenor Saxophone, Tambourine, Mellotron, AssociatedPerformer - Nick Movshon, Drums, Upright Bass, AssociatedPerformer - Russ Pahl, Acoustic Guitar, Pedal Steel, AssociatedPerformer - Dan Auerbach, Producer, Electric Guitar, AssociatedPerformer - Lana Del Rey, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Collin Dupuis, Engineer, StudioPersonnel - Barrie O'Neill, ComposerLyricist - Maximilian Weissenfeldt, Drums, AssociatedPerformer - Seth Kaufman, Electric Guitar, Percussion, Background Vocalist, AssociatedPerformer

℗ 2014 Lana Del Rey

5
West Coast
00:04:16

Kenny Vaughan, Electric Guitar, AssociatedPerformer - Bob Ludwig, Mastering Engineer, StudioPersonnel - Nick Movshon, Drums, Electric Bass, AssociatedPerformer - Rick Nowels, ComposerLyricist - Russ Pahl, Pedal Steel, AssociatedPerformer - Dan Auerbach, Producer, Mixer, Acoustic Guitar, Electric Guitar, Percussion, Synthesizer, AssociatedPerformer, StudioPersonnel - Elizabeth Grant, ComposerLyricist - Lana Del Rey, Vocals, Background Vocalist, MainArtist, AssociatedPerformer - Collin Dupuis, Mixer, Engineer, Programmer, StudioPersonnel - Seth Kauffman, Mellotron, AssociatedPerformer - Maximilian Weissenfeldt, Drums, AssociatedPerformer - Leon Micheals, Synthesizer, Mellotron, AssociatedPerformer

℗ 2014 Lana Del Rey

6
Sad Girl
00:05:17

Kenny Vaughan, Synthesizer, Mellotron, AssociatedPerformer - John Davis, Mastering Engineer, StudioPersonnel - Robert Orton, Mixer, StudioPersonnel - Leon Michels, Mellotron, AssociatedPerformer - Nick Movshon, Drums, AssociatedPerformer - Rick Nowels, Producer, ComposerLyricist - Kieron Menzies, Engineer, StudioPersonnel - Russ Pahl, Acoustic Guitar, AssociatedPerformer - Dan Auerbach, Producer, Guitar, Synthesizer, AssociatedPerformer - Lana Del Rey, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Collin Dupuis, Engineer, Synthesizer, AssociatedPerformer, StudioPersonnel - Seth Kaufman, Electric Guitar, AssociatedPerformer

℗ 2014 Lana Del Rey

7
Pretty When You Cry Explicit
00:03:54

John Davis, Mastering Engineer, StudioPersonnel - Robert Orton, Mixer, StudioPersonnel - Lana Del Rey, Producer, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Phil Joly, Engineer, StudioPersonnel - Brian Griffin, Drums, AssociatedPerformer - Blake Stranathan, Producer, Guitar, AssociatedPerformer, ComposerLyricist - Vira Byramji, Asst. Recording Engineer, StudioPersonnel - Lee Foster, Producer, Co-Producer

℗ 2014 Lana Del Rey

8
Money Power Glory
00:04:30

Greg Kurstin, Producer, Mixer, Drums, Engineer, Guitar, Bass Guitar, Keyboards, AssociatedPerformer, StudioPersonnel, ComposerLyricist - John Davis, Mastering Engineer, StudioPersonnel - Lana Del Rey, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - alex pasco, Engineer, StudioPersonnel - Julian Burg, Engineer, StudioPersonnel

℗ 2014 Lana Del Rey

9
Fucked My Way Up To The Top Explicit
00:03:32

Emile Haynie, Producer, Additional Producer - John Davis, Mastering Engineer, StudioPersonnel - Robert Orton, Mixer, StudioPersonnel - Lana Del Rey, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Daniel Heath, Producer, ComposerLyricist

℗ 2014 Lana Del Rey

10
Old Money
00:04:31

Nino Rota, ComposerLyricist - John Davis, Mastering Engineer, StudioPersonnel - Robert Orton, Mixer, StudioPersonnel - Elizabeth Grant, ComposerLyricist - Lana Del Rey, Vocals, MainArtist, AssociatedPerformer - Daniel Heath, Producer, Recording Arranger, AssociatedPerformer, ComposerLyricist - Robbie Fitzsimmons, ComposerLyricist - Milton Gutierrez, Engineer, StudioPersonnel - Matthew McGaughey, String Arranger, AssociatedPerformer - Andy Zisakis, Asst. Recording Engineer, StudioPersonnel

℗ 2014 Lana Del Rey

11
The Other Woman
00:03:01

Kenny Vaughan, Electric Guitar, AssociatedPerformer - John Davis, Mastering Engineer, StudioPersonnel - Jessie Mae Robinson, ComposerLyricist - Robert Orton, Mixer, StudioPersonnel - Leon Michels, Synthesizer, AssociatedPerformer - Nick Movshon, Drums, AssociatedPerformer - Russ Pahl, Pedal Steel, AssociatedPerformer - Dan Auerbach, Producer, Synthesizer, AssociatedPerformer - Lana Del Rey, Vocals, MainArtist, AssociatedPerformer - Collin Dupuis, Engineer, StudioPersonnel

℗ 2014 Lana Del Rey

Album Description

The maelstrom of hype surrounding self-modeled Hollywood pop star Lana Del Rey's 2012 breakthrough album, Born to Die, found critics, listeners, and pop culture aficionados divided about her detached, hyper-stylized approach to every aspect of her music and public persona. What managed to get overlooked by many was that Born to Die made such a polarizing impression because it actually offered something that didn't sound like anything else. Del Rey's sultry, overstated orchestral pop recast her as some sort of vaguely imagined chanteuse for a generation raised on Adderall and the Internet, with heavy doses of Twin Peaks atmosphere adding a creepy sheen to intentionally vapid (and undeniably catchy) radio hits. Follow-up album Ultraviolence shifts gears considerably, building a thick, slow-moving atmosphere with its languid songs and opulent arrangements. Gone are the big beats and glossy production that resulted in tracks like "Summertime Sadness." Instead, Ultraviolence begins with the protracted, rolling melancholia of "Cruel World," nearly seven minutes of what feels like a sad, reverb-drenched daydream. The song sets the stage for the rest of the album, which simmers with a haunted, yearning feeling but never boils over. Even the most pop-friendly moments here are steeped in patient, jazz-inflected moodiness, as with the sad-eyed longing of "Shades of Cool" or the unexpected tempo changes that connect the slinky verses of single "West Coast" to their syrupy, swaying choruses. Production from the Black Keys' Dan Auerbach might have something to do with the metered restraint that permeates the album, with songs like "Sad Girl" carrying some of the slow-burning touches of greasy blues-rock Auerbach is known for. A few puzzling moments break up the continuity of the album. The somewhat hooky elements of "Brooklyn Baby" can't quite rise above its disjointed song structure and cringeable lyrics that could be taken either as mockery of the hipster lifestyle or self-parody. "Money Power Glory" steps briefly out of the overall dreamscape of the album, sounding like a tossed-off outtake from the Born to Die sessions. Despite these mild missteps, Ultraviolence thrives for the most part in its density, meant clearly to be absorbed as an entire experience, with even its weaker pieces contributing to a mood that's consumptive, sexy, and as eerie as big-budget pop music gets. Del Rey's loudest detractors criticized her music as a hollow, cliché-ridden product designed by the music industry and lacking the type of substance that makes real pop stars pop. Ultraviolence asserts that as a songwriter, she has complete control of her craft, deciding on songs far less flashy or immediate but still uniquely captivating. As these songs shift her sound into more mature and nuanced places, it becomes clear that every deadpan affectation, lispy lyric, and overblown allusion to desperate living has been a knowing move in the creation of the strange, beguiling character -- and sonic experience -- we know as Lana Del Rey.
© Fred Thomas /TiVo

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