We only hear Lana mention a new song called “Music To Watch Boys To” before it gets cut off. In late June 2014, shortly after Ultraviolence was released, a snippet of an interview appeared online. It’s a stunning album, and among the best released in 2015. Honeymoon eventually was released on September 18th, and as promised, combined the sounds of Born To Die with Ultraviolence.
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Honeymoon was confirmed for a September 18th release date in late August, and the pre-order came with an instant download of “Terrence Loves You.” We have since heard “Music To Watch Boys To” and “Salvatore” as well. On August 10th, the lead single “High By The Beach” made its debut. The first song fans got to hear from the new album was the title track, “Honeymoon,” in July 2015.
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Song titles include “Music To Watch Boys To” and the title track, plus a cover of Nina Simone’s “Don’t Let Me Be Misunderstood.” Lana has stated that the new music will be more similar to Born To Die, though there will still be a noir, jazzy element to them. She also confirmed that she is working with Mark Ronson on some of the new tracks. In late 2014, Lana revealed that she was recording a new album, later announced as being titled Honeymoon. Once the album dropped in June, there was little else going on with Ultraviolence until the Endless Summer Tour nearly a year later.īut in that time, Lana was already working on new music. The singles were released in rapid succession, leaving little time for any of them to gain attention from more casual listeners. The Ultraviolence may have felt rather cut short though. The effect was a conceptual album that captured a specific moment in time, and Ultraviolence was generally well received. The songs are more consistent in mood and tempo as well, generally staying gloomy in slow- to mid-tempos. Lana drew on psychedelic rock, jazz, blues, and dream pop, with guitar being a more central instrument. Whereas Born To Die was very produced and combined cinematic, jazzy pop with hip hop and trap elements, Ultraviolence was noticeably more stripped down and raw. It represented a stylistic change compared to her previous records. Rest assured though, Lana seems to have found out who she is on the record and we love her all the more for it.Lana Del Rey’s third studio album, Ultraviolence, came out on June 17, 2014. Don't Let Me Be Misunderstood is a beautiful cover and tribute at the end of the album that encompasses many of the themes and issues displayed throughout the album. Art Deco, Religion and Freak are some of the more diverse and experimental sounds on the record, whilst Honeymoon and Terrence Loves You acts as the bridge from Ultraviolence.
The Blackest Day displays some of the most beautiful songwriting on the record, with God Knows I Tried illustrating her struggle to come to terms with her fame. High By The Beach is incredibly infectious, while Salavatore offers an Italian 'New World' vibe and 24 is the perfect Bond cinematic soundtrack theme that didn't happen (but should have happened).
The album is laced with Lana's signature sound, which she has continued to build as she reaches her third major label release, this time refining it and striking the perfect balance between Born To Die and Ultraviolence, evident specifically through Freak. You know it's a brilliant album when the 'weakest' track is still incredibly strong and enjoyable. The album shape up as a whole? Find out my 'first impression' ranking of theġ3 new tracks (discounting the beautiful Burnt Norton interlude) that form Honeymoon and a mini summary of the album as a whole, below. To, Terrence Loves You and the titular track looking promising – but how does Of my favourite tracks this year, with promotional singles Music To Watch Boys Honeymoon returns more towards the Born To Die vibe, leaving myself and herĭedicated fanbase enthralled at what is to come. Versatile tracks and sounds that Ultraviolence lacked. Born To Die offered a mixture of eclectic and
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