Rank: 3/5
If there were a land of cinematic heartbreak songs and heart-shaped sunglasses, Lana Del Rey would be queen.
Rising from the dark of shaky music releases, Del Rey released “Video Games,” in 2011 to much fanfare. The self-released viral video brought Del Rey out of her uncertain indie roots, catapulting her superstardom.
Since her 2012 release of “Born To Die,” Del Rey has become an enigmatic teen queen who girls and Tumblr bloggers worship, filling concert venues with heads of flower crowns and American-flag bandanas.
Part of Del Rey’s success is because she filled a void in an indie arena that, at the time, was oversaturated with men. Del Rey played the part of a miserable flower-child, and played it perfectly.
Three years and three major releases later, Del Rey has not let go of her gloomy niche. Through the years, her sound may have shifted, but Del Rey still keeps the content steady — men, religion and drugs.
“Honeymoon” is Del Rey’s fourth studio release and leaked ahead of its Sept. 18 release. With her longtime producer Rick Nowels at the helm of the album’s production, Del Rey mixes instrumental elements from her 2014 “Ultraviolence” album with more modern components of “Born to Die.”
Though this album highlights her progression, her different music genres don’t connect as well as one would expect, leaving the album without a cohesion so signature to the singer.
Del Rey begins “Honeymoon” in the most Del Rey way possible — by putting listeners to sleep. While this would initially sound negative, Del Rey fans love to be slowly serenaded by her moody voice.
“Honeymoon,” the album’s title track, premiered in July on her YouTube page. The song features Del Rey cooing over an orchestra, and it almost feels like a continuation of last year’s “Ultraviolence.”
After a mellow introduction to the record, it picks up the pace with “Music to Watch Boys To,” a track with a summer vibe and a stronger chorus than expected for a song that begins at a low-tempo.
The album’s third track, “Terrence Loves You,” is a haunting ballad, which shows off Del Rey’s talent as both a vocalist and a writer.
“Terrence” carries a timeless haunting fans have grown used to since “Ultraviolence.” The track is reminiscent of Del Rey’s ballad “Shades Of Cool,” a highlight from her last album.
Del Rey explores trap and trip-hop sounds she left behind after “Born To Die” on “High By The Beach,” the album’s first single.
And Del Rey does not hold back on the song, leaving a feisty message to an ex-lover.
Citing “flames so hot that they turn blue,” “Freak” continues the trap elements introduced earlier in the record, with imagery-heavy lyrics. The track is the perfect marriage of the aspirational themes of “Born To Die” and the dark tones of “Ultraviolence.”
Some of the bleakest desperation listeners crave comes with “The Blackest Day,” bringing the best lyrics on the record.
Del Rey often closes her albums with a cover, and her rendition of Nina Simone’s “Don’t Let Me Be Misunderstood” is a perfect ending to an album that ebbs and flows on mixing classic sounds with today’s trendy beats.
Though the album is a solid effort from Del Rey and gives fans what they expect, the production feels as if it’s trying to please two types of fans — those who enjoy a glossy voice over heavy production and those who prefer a stripped down, raw voice and beat.
While both types of fans would enjoy the record, the quality of the work would have benefited if Del Rey chose to stick to one type of sound.
Grayson Senner is a 19-year-old mass communication sophomore from New Orleans. You can reach him on Twitter @graysonsenner.