Honeymoon

Now that I’ve had this album for a day and, you know, the honeymoon period has ended (get it…?), I think it’s safe to say I’ve formed a full and fair opinion on it… in a word, stunning.That word has been thrown around a lot in the other reviews here for the album and I think that’s because from the opening strings of the title track, you can simply hear the class in the luscious production. Working on every track with Rick Nowels, Honeymoon is a sweeping aural landscape. Listen for the beautifully sultry flute in ‘Music to Watch Boys to’ and the brilliantly Italian sounding ‘Salvatore’ to really understand how perfect the sound of this album really is.I was a fan of Lana upon first hearing ‘Video Games’. I was utterly amazed by her voice and its unique ability to suddenly shift my emotions. When I received Born to Die, I must have played it hundreds of times, constantly changing my favourite song (currently ‘Million Dollar Man’) and always finding it amazing. However, if I had a criticism, it would be the unfailing and undying attention paid to making the tracks cohesive – in other words, a lot of the songs sounded very similar. She then released Paradise led by ‘Ride’, which I still consider one of her best tracks to date. In this EP, Lana included 8 tracks which developed her cinematic quality even more. I’d argue that, as a whole, this collection is the most forgettable. There are some amazing songs - ‘Gods and Monsters’, ‘American’, ‘Bel Air’ - but when I hear “My pussy tastes like Pepsi Cola” just before the slightly plodding ‘Body Electric’, my energy for that “sound” has depleted.In the lead up to Honeymoon, a lot of critics noted how Lana may have pushed her sound too far with Ultraviolence, but I wholeheartedly disagree. This was an album that knew exactly what it wanted to be and did it perfectly. In my head, I picture the gorgeous black and white image that adorns the deluxe edition I have sat on my shelf and believe that every song evokes exactly what that image is. ‘West Coast’s irresistible hook, the unbelievable Greg Kurstin-produced ‘Money, Power, Glory’ and the repetitively hypnotic ‘Cruel World’ all resonate in my mind and that’s the word I return to with Honeymoon – hypnotic.This collection combines the ‘hip-hop’ tones of Born to Die with the cinematic beauty of Paradise and the magnificently hypnotic Ultraviolence to create the perfect marriage of sounds. Every song has a place and a purpose and each surprises me lyrically and sonically. Del Rey’s voice has never sounded better. Having been modified by reverb quite frequently in her previous efforts, it is nice to hear the main attraction at the forefront. The title track was a grower for me and now can be considered one of my favourites then leading to my instant favourite, as mentioned previously, ‘Music to Watch Boys to’. From this we have the perfect ‘Terrence Loves You’ (Who’s Terrence?) and then the most Ultraviolence-sounding, ‘God Knows I Tried’, again brilliant. ‘High by the Beach’ I’d say is the Born to Die-era West Coast and I have no problem with that. Follow that with ‘Freak’ (quite Born To Die-ish, perfect), ‘Art Deco’ (perfectly following Freak) and then an equally strong second half; I can safely say this album is going to be difficult to divorce.Honeymoon - 5/5Music to Watch Boys To - 5/5Terrence Loves You - 5/5God Knows I Tried - 5/5High by the Beach - 4.5/5 (played too many times)Freak - 5/5Art Deco - 5/5Burnt Notion (Interlude) - N/AReligion - 4.5/5 (still great production, but a little forgettable when compared to the others, in my opinion)Salvatore - 5/5 (My Favourite)The Blackest Day - 5/5 (Ultraviolence/Born To Die marriage again)24 - 5/5 (Spectre is the 24th Bond film and quite clearly this song should've been attached to it)Swan Song - 5/5Don't Let Me Be Misunderstood [cover] - 5/5

Great album

Great bop!

The third album in an evolving story has a definite California feel to it (the earlier albums still had a New York edge and abrasiveness to the lyrics, which I liked) whilst losing none of the lyrical power of the previous albums. Honeymoon feels like a natural progression from Born to Die (Angst) and Ultraviolence (Courtship), the story has moved on from infatuation, through insecurity to almost jaded acceptance and leaves on a note of disaffection - High By The Beach is a lovely, haunting, put-down and the final track, a cover, Don't Let Me Be Misunderstood (Animals, 1960s in the UK) are probably the highlights for me, though the whole album is eminently listen-able (if it doesn't grab you upon first playing, persevere and it will).Apparently, Honeymoon was kept from reaching #1 in the "Charts" upon release by David Gilmour's latest offering which, I would suggest, is pretty high praise in itself. However, I have to say that I'm less convinced by Dave Gilmour's "Rattle That Lock" than by "Honeymoon" (and I've been a Floyd fan since the late 60s).Honeymoon is, as I said, the third (or third and a half, if you include the Paradise Sessions) in what seems to be a story - whether a reflection of Lana Del Rey's life or not (suspiciously littered with New York references in the first two albums which suggests so) - and it will be interesting to see whether Lana leaves the story here and moves on to other things or continues with the theme. Whatever she decides, I'll probably buy it just because I like her voice, vocal style and lyrics.

I was skeptical about this album as I loved Born to Die & Paradise but felt hugely let down by Ultraviolence. I thought I'd give it a go though as I wasn't ready to give up on Lana as the 2nd album from most singers is usually hit and miss.I would say the sound of this album definitely leans towards her earlier work, which I liked best. I has aspects of dream pop/trip hop which I also enjoy and her vocals feel less distorted/covered by the music.I'd say my standout track is either God Knows I Tried or Art Deco, though the album flows well as a whole and they're all easy to listen it, I didn't find myself skipping any the first few times round.

In my honest and totally biased opinion this is one hell of an album, well actually it's more like heaven it's so laid back and sultry. but this being Lana Del Rey it's also very dark and cinematic, the music flows much more smoothly than either BTD or UV and It is far less explicit in content, a move which I think could widen her audience but the most important thing is that she has remained true to her own vision. this isn't just music it is art and I think time will show Lana Del Rey to be one of the greatest artists of her time. that said there are a couple of songs that haven't fully worked there magic on me just yet but as I know of old that is only a matter of time. If I was to be uber critical there are some sound effects that I found unnecessary and Lana certainly doesn't need them. I give it five stars because above and beyond anything else I love Lana's voice, God Knows I Tried alone is for me worth the price but the album as a whole is every bit as hypnotic as any of her earlier work this is a truly beautiful album for fans and music lovers.

It’s good