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Alternative & Indie - Released August 30, 2019 | Polydor Records

Distinctions 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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Alternative & Indie - Released July 21, 2017 | Polydor Records

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Two years after Honey Moon, Lana del Rey comes back with the much anticipated Lust for Life, her fourth studio album. The voice is magnetic, more sensual than ever; the melodies are solid. If through the eyes of Lana, the world stays affected, slow and pensive, the skillfully chosen featuring tracks offer a few welcome respites. Thereby, the baby doll has invited a few friends to her ball. A$ap Rocky officiates on Groupie Love and Summer Bummer—in which he brings with him Atlanta’s wild youngster, Playboi Carti—The Weeknd on Lust for Life, Jonathan Wilson on Love. Others, and not least among them, have joined the party. Stevie Nicks, Fleetwood Mac’s emblematic singer, pops by on Beautiful People Beautiful Problems, and Sean Ono Lennon on Tomorrow Never Came. 16 tracks, 72 minutes. It’s a mix of genres ranging from hip hop with trap accents to psychedelic, without forgetting ballads on piano, and always a focus on acoustic. It’s a passionate craving for life then, which comes back to the one that has made her queen, Born to Die. It’s almost ironic. Has it gone back full circle? Anyway, this faded color melancholy is as attractive as ever, and its varnish doesn’t only crack to reveal the throes of an idol anymore, but also to tackle a modern America in disarray, between past and future. © MD/Qobuz
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Alternative & Indie - Released June 16, 2014 | Polydor Records

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Alternative & Indie - Released September 18, 2015 | Polydor Records

Call Honeymoon the third installment in a trilogy if you will but there's no indication Lana Del Rey will put her doomed diva persona to rest after this album. Over the course of three albums, Lana Del Rey hasn't so much expanded her delicately sculpted persona as she has refined it, removing anything extraneous to her exquisite ennui. Honeymoon doesn't drift or float, it marks time, sometimes swelling with a suggestion of impending melodrama but often deflating to just an innervated pulse. Apart from the syncopated chorus on "High on the Beach," any lingering element of the hip-hop affectations of Born to Die have been banished and so have the shade and light Dan Auerbach brought to Ultraviolence, a record that feels cinematic in comparison to Honeymoon. What's left behind is the essence of Lana Del Rey: iconic images of days of Los Angeles passed, all plasticized and stylized, functioning as lighthouses in stoned, sad daydreams. Mood reigns over all on Honeymoon -- melodies and tempos certainly aren't prioritized over feel; all the originals are purposefully languid, which is partially why the Nancy Sinatra sample on "Terrence Loves You" and "Don't Let Me Be Misunderstood," a cover allegedly in the vein of Nina Simone's original but bearing an organ out of the Animals, stick -- but underneath the dragging beats and austere arrangements, there's something approaching triumph. Where Lana Del Rey seemed weighted down by existential sorrow on her first two albums, Honeymoon seems comfortingly melancholic and that's the truest sign that it is the fullest execution of Lana Del Rey's grand plan yet. ~ Stephen Thomas Erlewine
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Alternative & Indie - Released July 21, 2017 | Polydor Records

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Alternative & Indie - Released June 16, 2014 | Polydor Records

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Alternative & Indie - Released April 22, 2013 | Polydor Records

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Alternative & Indie - Released August 9, 2019 | Polydor Records

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Alternative & Indie - Released January 1, 2011 | Polydor Records

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Dance - Released July 31, 2013 | Polydor Records

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Alternative & Indie - Released August 9, 2019 | Polydor Records

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Alternative & Indie - Released January 1, 2012 | Polydor Records

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Alternative & Indie - Released January 1, 2012 | Polydor Records

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Alternative & Indie - Released January 30, 2012 | Polydor Records

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Alternative & Indie - Released June 8, 2014 | Polydor Records

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Alternative & Indie - Released January 1, 2012 | Polydor Records

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Alternative & Indie - Released January 1, 2013 | Polydor Records

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Alternative & Indie - Released May 26, 2014 | Polydor Records

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Alternative & Indie - Released August 25, 2017 | Polydor Records

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Ambient - Released November 17, 2014 | 2DIY4

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Lana Del Rey in the magazine
  • Lana Del Rey, beautiful violence.
    Lana Del Rey, beautiful violence. The evanescent lady of the moment brings yet another soulful music experience to our ears...
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