Sultry, sexy and incredibly boring. Lana Del Rey’s new album Honeymoon, the much-anticipated follow-up to Ultraviolence was released on 18 September. Del Rey’s strict creative control has unsurprisingly led her to produce her most self-indulgent piece yet.
The obsession with her own perpetuated image of the scorned lover and femme fatal has slowly become less believable but certainly no less entertaining. But her commitment to her art could certainly make her the most genuine fake in the business. Admittedly Honeymoon isn’t as bad as I had originally anticipated It is certainly a step up from Ultraviolence but nowhere near as iconic as Born to Die.
Although extremely monotonous this album, like previous ones showcases Lana’s best talent, enchanting listeners with a masterful combination of bad girl narratives and melancholy tunes. This is why she has had such success in the past two years writing scores for various movies including; The Great Gatsby, Maleficent, Mommy and Big Eyes.
In her new album Del Rey is still the pouty prize on the arm of some sugar daddy in songs like “Religion” she sings “You’re my religion, you’re how I’m living / When I’m down on my knees, you’re how I pray” but by the time it reaches ‘Blackest Day’ her constant objectification runs very dry. Held together by slow, moaning ballads Honeymoon only really gets interesting in “Freak” and “Art Deco”. The lyrics and songs really start to work together in her unique, immersive style but after that things trail off again into a deep progressive oblivion.
Lana has never been a spectacularly good lyricist, but her writing has always hit a real truth with listeners, in this album, however, she has disconnected herself from that honesty. She speaks as if she were a fallen Hollywood star in the throes of self-destruction, a romantic notion but completely un-relatable and inevitably poorly written. In “Salvatore” she sings; “Salvatore can wait/ Now it’s time to eat/ Soft ice cream” this is the highlight of nonsensical writing.
Her mentions of other iconic artists like Billie Holiday, Lay Lady Lay, and quotes from David Bowie in “The Blackest Day”, “Religion” and “Terrence Loves You” seem like feeble attempts to be more artistic but ultimately just make the album a little too unoriginal.
Definitely an improvement from the last moaning compilation of Ultraviolence, Honeymoon displays what Lana Del Rey truly is, the poster child for heartbreak and self-destructive actions. There are some great moments on the album but none of it memorable.