Second appointment dedicated to Lana Del Rey: today we're talking about "Ultraviolence".
In 2012, after the success of "Born to Die", Lana seemed to rule out the possibility of a third album. The artist declared that she had already said everything she had to say, strengthening, if nothing else, the conspiracy theory of those who defined her as an industry plant, created at the drawing board to satisfy the demands of an indie audience in search of their idol to worship. Her return to the studio, however, was not long in coming: from February 2013, Lana set to work and, collaborating with various producers, including Dan Auerbach and Greg Kurstin, began writing the new album. The sound of "Ultraviolence" is decidedly more stripped back compared to that of "Born to Die", but maintains its dark and cinematic character. Guitars, combined with extensive use of echoes and reverbs, are at the centre of almost all the productions and steer the album towards a style halfway between indie rock and dream pop, in which Lana's voice emerges even more intense and melancholic.
The album opens with "Cruel World", a break-up song of almost 7 minutes driven by guitars with a 1970s rock flavour, which announce the artist's new sonic direction. This is followed by the title track "Ultraviolence", which in the chorus quotes the song "He Hit Me (And It Felt Like a Kiss)" by the Crystals, and "Shades of Cool", a dark ballad that recalls the atmospheres of groups like Cocteau Twins and Portishead. In the dreamy "Brooklyn Baby", Lana outlines a love story set against the backdrop of New York City. The song, intended for a collaboration with singer Lou Reed, who tragically died the very day Lana arrived in the Big Apple, states: "Well, my boyfriend's in a band/He plays guitar while I sing Lou Reed".
The psychedelic rock of "West Coast", skilfully arranged by Dan Auerbach, draws extensively from reggae and blues, whilst the ballad "Sad Girl" takes the perspective of a lover obsessed with her man. The subsequent "Money Power Glory" and "Fucked My Way Up to the Top" take a vaguely sarcastic turn, where Lana ironises about fame and the media. The album closes with the romantic "Old Money" and a cover of "The Other Woman", a song made famous by Nina Simone and also interpreted by Jeff Buckley.
"Ultraviolence" received generally positive reviews, which praised the cohesion between lyrics, production and vocal performance. The album also debuted at number one in the charts of eleven countries, including the American one, with a total of almost 200,000 sales in the first week after its release.
We invite you today to immerse yourself in the enveloping atmospheres of "Ultraviolence" with "Brooklyn Baby", one of the tracks that best testifies to the great talent of this artist with magnetic charm. Enjoy listening!
