Lana Del Rey, 'Ultraviolence': Track-by-Track Album Review


After the critical drubbing she withstood from late 2011 through early 2012, Lana Del Rey would have been well justified in packing up her party dresses and heart-shaped sunglasses and secluding herself in some Hollywood mansion, "Sunset Boulevard"-style. Branded an untalented, anti-feminist, prefabricated fraud by scores of online haters, Del Rey told U.K. Vogue in February 2012 that she might never record a follow-up to "Born to Die," the album that established her as one of the most divisive musical figures of the digital age. Thankfully, she had a change of heart.

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On "Ultraviolence" — her third studio LP and second since transforming herself from mild-mannered retro songstress Lizzie Grant into the hyper-stylized post-modern glamour queen we've all come to love and/or hate — Del Rey once again dives into the depravity of American culture. She sings about drugs, cars, money, and the bad boys she's always falling for, and while there remains a sepia-toned mid-century flavor to many of these songs, LDR is no longer fronting like a thugged-out Bettie Davis.