Honeymoon
Lana Del Rey's third album is her purest album-length expression, and her most artistic one. It is a dark work, darker even than Ultraviolence. While she's obviously a pop artist, Honeymoon feels as though it belongs to a larger canon of Southern California Gothic albums, and synthesizes ideas she's been vamping on from the beginning into a unified work.
With familiar themes, but more autonomy, Del Rey delivers what sounds like the perfect goodbye. Let’s hope it isn't.
Earlier this year, Lana Del Rey said that her third album ‘Honeymoon’ would be “very different” to her previous release, 2014’s underselling ‘Ultraviolence’.
Review at a glanceAny lingering doubts that Lana Del Rey is the most captivating popstar on the planet are dispelled within 30 undreamable seconds of Honeymoon.
A honeymoon with Lana Del Rey is more sticky than sweet: Get ready to enter a world of truly tortured romance, complete with enough bitterness, lust and violence for a one-woman revival of Who’s Afraid of Virginia Woolf?
In a world where the biggest pop acts construct their own universe, hers could be the most distinct and untouchable.
Call Honeymoon the third installment in a trilogy if you will but there's no indication Lana Del Rey will put her doomed diva persona to rest after this album.
Honeymoon, Lana Del Rey's follow-up to her 2014 album, Ultraviolence, is at times brilliant and occasionally boring, a record that moves and morphs, taunts and mystifies, like the Caterpillar in Alice in Wonderland.
'There's little here to win over sceptics - but that's just as Del Rey intended' /> <meta name=
If “beach goth” is already a musical genre taken by neo-surf rockers, then Lana Del Rey’s new album Honeymoon has given birth to “tropical noir;” all the imagery of swaying palm trees and hallucinatory California sunsets with the heightened dram
Crystalline torch songs and a baffling snatch of TS Eliot from the queen of haute trash
Lana Del Rey’s third album has an air of strict creative control, but it could be her best yet
World-weary singer ramps up the sophistication and channels Blue Velvet’s Dorothy Vallens. CD new music review by Guy Oddy