Lana Del Rey: Ultraviolence

Lana del Rey's second album is even more sensuous, sexed and alluring than the first. And I have a feeling she has done it on purpose: a bold two fingers up to the army of critics, haters and populist audiences who slated her debut. Maybe...

Back in 2012 Del Rey told Vogue magazine that she did not feel the need to write a follow up to Born To Die, saying: 'What would I say? I feel like everything I wanted to say, I've said already.' The comments may also have been motivated by the wide criticism she received as a singer but – nonetheless – she is back with another album.

Ultraviolence opens in the haze of beautiful old romance in Cruel World with those twanging guitar strings and a familiar melancholic voice – more melancholic than ever – from Del Rey. She seems to be yearning for love and revenge with this collection. It's Lana at her most sad and sultry. 

I thought she may have come of age in this one. In a way she seems a little older and wiser when she sings things like 'I shared my body and my mind with you / That's all over now / I did what I had to do / I found another anyhow' – but elsewhere it's, 'Yeah my boyfriend's pretty cool/But he's not as cool as me / Cause I'm a Brooklyn baby' and you still hear an almost-teenage voice coming across. 

I do like it though. Old Money is an irresistible variation on Nino Rota's A Time For Us (the theme from Romeo and Juliet, 1968); Fucked My Way Up To The Top must be a two finger moment, as too I think Money Power Glory is (she refers to herself as 'this bitch'). 

One small drawback is that the same melody keeps cropping up – that sliding melancholic motif from the title track that is echoed in at least The Other Woman, West Coast, Sad Girl and Black Beauty. Just listen to a few tracks at a time.

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