Born To Die Lana Del Rey

After last year"s hit "Video Games" und the limitless remixes, leaks, think-pieces, und controversy that followed, it"s finally here: the major-label debut from Lana Del Rey.

Du schaust: Born to die lana del rey

What happens kommen sie a dream fulfilled? an ext specifically, in American dream fulfilled, rags turning zu riches with die snap von a manicured finger, kissing james Dean in Gatsby"s swim pool, getting played on die radio. This is a central question animating Lana Del Rey"s Born to Die. Ours heroine has all ns love, diamonds, and Diet hill Dew she can ask for, yet blieb sings, "I wish ich was dead," sounding utterly incapable of joy. Kommen sie paraphrase Liz Phair, if freundin get everything freundin wish for and you"re ausblüten unhappy, then you know the the belästigt is you.

Given the waves of hype and backlash end the belastung six months, it can be easy kommen sie forget the we"re here, first und foremost, because von a song. "Video Games" to win a nerve not nur because it was an introduction kommen sie Del Rey"s captivating voice but since it seemed kommen sie suggest something as-yet-unarticulated about the way we direkt today. Whatever produziert intention, as a an allegory about disconnect und detachment from our own desires, "Video Games" feeling frank, pointed, und true, and it had a chord progression and melody kommen sie match. Die ultimate disappointment von Born to Die, then, ist how out des touch it feels not nur with the world around it, yet with die simple business of human being emotion.

The singer born elisabeth "Lizzy" give may have made produziert mark with a grainy homemade video that brought kommen sie mind other grainy homemade videos in the indie sphere, but die slick sound and sentiment of "Radio", Born to Die"s many straightforward statement des purpose ("Baby liebe me "cause I"m play on die radio/ how do freundin like me now?"), locations it steady within the realm of big-budget graph pop. Born to Die was produced über Emile Haynie, who credits include Eminem, Lil Wayne, und Kid Cudi, and the album"s impressively lush atmosphere could be ns one point that möchte unite that detractors und apologists.

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The album"s recurring themes ooze out des every note: sex, drugs, und glitter hover in the yawning atmosphere roughly Del Rey"s breathy vocals. There are strings und trip-hop beats and bits von 1950s twang, and the melodies, assembled with help from hired-gun songwriters like Mike Daly (Plain White Ts, Whiskeytown) and Rick Nowels (Belinda Carlisle"s "Heaven ist a ar on Earth") room built kommen sie stick. Yet for in album that aims zum fickle radio listeners, many von its popular music signifiers feeling stale und ill-fitting. Top top "Million dollar Man", Del Rey drawls favor a extremely medicated Fiona Apple, und "Diet hill Dew" and "Off to ns Races" aim zum chatty, sparkling opulence, this singer doesn"t schutz the personality zu bring that off.

The album"s point of view-- if freundin could contact it that-- feel awkward and out des date. Whether sie take a line favor "Money is the factor we exist/ anyone knows that it"s a fact/ Kiss kiss" v a 10-carat grain of salt zu sein up kommen sie you, yet even together a jab at die chihuahua-in-Paris-Hilton"s-handbag lifestyle, it feels limp and pointless (unlike, say, lilie Allen"s mock-vapid yet slyly observant 2008 einzel "The Fear"). Still, the dollar signs an its eyes aren"t in inherent strike versus Born to Die: Even bei the wake up of in international debt crisis and the accounting movement, it was hard notfall to fall for Watch the Throne. Yet that"s since Jay und Kanye make escapist fantasy sound so fun. Del Rey"s gem-encrusted dreamworld, meanwhile, depends on clichés ("God you"re deswegen handsome/ take it me to the Hamptons") fairly than specific evocations. It"s a fantasy welt that makes sie long zum reality.

And speaking of fantasy: the conversation neighboring Lana Del Rey has underscored some seriously boring truths about sexism bei music. She was subjected to the kind of extreme scrutiny-- about her backstory und especially her appearance-- that"s typically reserved zum women only. But die sexual politics des Born kommen sie Die are troubling too: You"d be difficult pressed to find any song on which Del Rey reveals bei interiority or numbers herself as anything more facility than bei ice-cream-cone-licking object von male desire (a line in "Blue Jeans", "I will liebe you till the end of time/ ich would wait a million years," sums hoch about 65% von the album"s lyrical content). Even wie Del Rey supplies something that might be read as a critique ("This is what makes us girls/ we don"t stick with each other "cause we placed our liebe first"), she asks that we make no effort zu change, escape, or transcend the way sachen are ("Don"t cry about it/ Don"t cry about it.") bei terms of its America-sized grandeur und its continuous with ns emptiness des dreams, Born to Die attempts zu serve as Del Rey"s own beautiful, dark, twisted fantasy, yet there"s no spark and nothing punkt stake.

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The doubter Ellen Willis as soon as wrote von Bette Midler: "Blatant artifice can, an the best circumstances, it is in poignantly honest, und she expresses the tension betwee image and inner me that all des us-- yet especially women-- experience." but Born to Die never enables tension or intricacy into ns mix, und its take it on mrs sexuality ends nach oben feeling extensively tame. Zum all von its coos about love and devotion, it"s the album equivalent von a faked orgasm-- a collection of torch songs with no fire.