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The Weeknd, Lust For Life For years, listeners debated -- was Lana glamorizing feminine suffering? Or was she simply expressing her honest, morbid thoughts? But as she recalls the most idyllic moments of a relationship, she also remembers that it ended. Nostalgia has its limits, but the past lives on through them, and us, to rewrite the future. In those early years, Lana made you believe she was living out her Hollywood fantasies, whether you liked her or not.
Heartbroken over an ex-boyfriend, she discovers herself through dance and music. All three icons appear in Tropicothe short film directed by Anthony Mandler, where Lana portrays a modern Eve, cast out of the garden of Eden. In the real world, she becomes a stripper who liberates herself by robbing her rich older clients, and is then readmitted to heaven.
Like Lana herself, these four women are cultural symbols, yet real, ordinary human beings too. The glitz and glamour will fade, yet Lana Del Rey remains, the eternal troubadour.
Diss tracks -- if you even call this one -- rarely contain this much self-loathing. Lana spends most of the song taking shots at her protagonist, a singer with more vanity than talent.
Watching the kids celebrate at Coachella, Lana wonders what their future will look like. Call her naive, but Lana Bailando Slauson - Los Apson - Atras De La Raya (Vinyl Rey chooses positivity; she believes in the power of art and symbols.
On Born to DieLana sang about the fame and fortune she was on the verge of attaining. Over stunning jazz piano chords, and offbeat drums sampled from a Captain Beefheart recordhis weathered voice gives way to her smooth, silky tone, becoming as much her song as his.
Womack and Del Rey hold hands tightly throughout, willing the experience not Bailando Slauson - Los Apson - Atras De La Raya (Vinyl end. On much of UltraviolenceLana plays a tragic, almost villainous figure. With its lush pianos and mellotrons, self-destruction has rarely sounded so beautiful.
Lust For Life found Lana reassessing the role of her music, and what it means to the culture. The song is a little moral parable: whether or not you choose to gamble with fame, the artist that stays true to herself survives. This new Lana is no longer tormented by love, content to simply indulge her music in the concept of romance. Lana makes just the slightest of changes to the '96 original -- she lowers the tempo, and her production is more atmospheric -- but she breathes a dizzying amount of new life into the song.
In the verses, Lana sings about getting into trouble as an adventurous teenager. In one recording, Lana covers two inspirations -- Andrew Lloyd Webber and Madonna -- in one fell swoop. Instead of demanding love, she gives unconditionally, with boundless emotional LP).
Lana gives one of her most unhinged vocal performances, spitting the verses in her lower register; desperately pleading as the choruses escalate into a heart-pounding double-time bridge. Beneath jazzy, ambiguous organs and blippy synths lies a circular, muted trap beat -- a hip-hop facsimile of playing a drum kit with jazz brushes. In one of her most recognizable videos, directed by Jake Nava, Lana finds refuge in a lavish beachside house, until a paparazzi helicopter intrudes… so she pulls a grenade launcher out of a guitar case, and shoots them out of the sky.
It culminates in one of her definitive images, a still shot of her holding a gun: defiant, glamorous, remorseless. A timeless piece of religious, existential poetry, Lana leaves her ultimate fate to God. Bythe year she turned 30, she had little to prove as an artist except to herself. Whatever her reputation, she knows she did her best. Nearly every other track on Chemtrails is a positive depiction of settling down -- so of course, Lana had to get in just one song that makes domesticity sound like being trapped in a dusty attic.
They sang as an impartial observer, or perhaps the wife, telling a sad morality play of a beautiful, loveless mistress. On Ultraviolencelove is the ultimate drug, true believers are addicts, and Lana Del Rey is their prophet. Glamorous, romantic, but not overwhelmingly sad, the music video was a perfect realization of early Instagram culture -- think girls in flower crowns at music festivals, shot through nostalgic, analog-style camera filters.
The original remains the definitive version. Is it ironic that one of our greatest modern California mythologizers is an east coast native? The video, the first since to be directed by Lana herself, casts Father John Misty as a guru-like figure surrounded by young women who take acid and literally drink Kool-Aid. Amidst the turmoil of earlyLana Del Rey did the unthinkable: she wrote a song with no darkness, no contradictions, just love.
Alongside her peers and tourmates, the indie pop-turned-folk singer Zella Day and the baroque-pop prodigy Natalie Mering, a. Soundtracked by lush piano and strings, Lana sounds clear-eyed, lucid, as she recalls a time when her world seemed idyllic. Much of Ultraviolence is about the unavoidable call of addiction, how our brain chemistry determines our fate. Lana Del Rey has always fantasized about two things: unconditional love, and leaving her stardom behind.
Combine the two, and you get LP) instant classic. The song was inspired by a real-life experiencewhere Lana spent a day trawling through the California coastline to find one beach without paparazzi or onlookers. She croons with an unnerving tenderness, reliving her emotional turnoil in the moment. The song ends on the oceanic sounds of brass, as if beckoning you to sail away on a great voyage…. Over nearly seven minutes, Lana sifts through the wreckage of a relationship.
Gone are the Hollywood references, the cinematic hip-hop production -- this is the blues, spiritual and guttural and LP) honest. As the song ends with her wails, Lana Del Rey is ready to burn down everything you thought you knew about her.
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