Lana Del Rey – Ultraviolence (Review)

Hello all! I know it’s been a while. I know I look like the most inconsistent person on the planet, but I’ve been busy with a whole lot of other blah blah blah… Whatever, who cares? California isn’t the only thing that’s been in a drought this summer, music’s been awful dry lately too.

I’ve finally gotten around to hearing Lana Del Rey’s full length sophomore project Ultraviolence. Released one month ago, Ultraviolence is the follow up record to her 2012 debut LP Born to Die. The first album was full of here and there moments, but overall as far as debut albums go, it wasn’t that bad. Her sound left me intrigued because of its vintage style over Hip Hop-ish beats. Although recycled from greats who came before her, Lana has a very likable style. There was an EP in between these two records called Born to Die: Paradise, but personally I didn’t care for it whatsoever.

I was really looking forward to hearing Ultraviolence. The album is not too short nor too long. As a singer who many describe as depressing, I still enjoyed this project for the most part. My favorite songs were “Brooklyn Baby,” “West Coast,” and “Florida Kilos.” It’s awesome how she still has the classic black and white movie aesthetic that we’ve grown to know and love.

By now you already know how I feel about the lack of guest appearances on full albums. Lana could also stand to switch up the tempo of some songs and lean towards more of an eclectic feel. Some might say that Ultraviolence is guilty of songs all sounding the same. Well, that’s up to you to decide when you listen to it. As of right now, I think this album is good but not amazing. Ultraviolence glides in at 3.5/5 flies.