Lana Del Rey- Honeymoon (2015)

Lana Del Rey- Honeymoon (2015)

“I don't remember my dreams too much. I hardly have ever gotten ideas from nighttime dreams. But I love daydreaming and dream logic and the way dreams go.”

David Lynch

By: Ghost Writer

After all the economic struggle we have lived the last few years, it seems that we are still on austere times, and who is better to become the personification austerity (besides Angela Merkel) than darkest than dark musical diva from beyond, Lana Del Rey, whom for someone who sounds so laid back, is really prolific, returning just a mere year after her impressive Ultraviolence record.

This year's Honeymoon is a more "diverse" record, but remember this is Lana's diversity, not someone else's, so get ready for a new eerie slow drive on the wild side of memories vanishing in the air, as we get skeletal pop of precise and eerie arrangements  starting with ear piercing strings and Lana desolate vocals on the heartbreaking tittle track, that could easily substitute Nancy Sinatra's Bang Bang on the Kill Bill soundtrack, creating with full on precision the exact sound of despair, so if you thought Cobain's songs were a bummer, wait to listen to Lana's song.

I must mention that there is a strange a perverse sense of humor thru the record, exacerbated on the funny almost Lynchian pop of Music To Watch Boys To, another waltz with a ghostly chorus and an almost 50s vibe that goes right to the Blue Velvet type of stuff, so in case Twin Peaks surreal mysteries are about to return, it's a good idea that Lana could be singing the title track.

Twangy guitars that recall those Sergio Leone hot in the shade spaghetti western soundtrack created by the great Ennio Morricone almost materialize on Lana's world, especially on the evocating Terrence Loves You with its bleak melody and pale sunshine musical arrangements.

Lana got really close to appearing on the Pier Pressure record by Brian Wilson, god only knows the reason why the duet never happened but Lana seems really apt to recreate that obscure music Wilson created on his darkest moments, and that atmosphere is perfectly conceived on the powerful God Knows I Tried featuring again an almost doom laden cadence and desert burning twangy guitars, as Lana seems perfectly suited to appear in a duet with the Spanish greats Orthodox circa their great Sentencia record.

And as we recall mentioning diversity, High by the Beach appears with its weir almost trap like beats, and Lana put aside a little her 50s obsession by leaning a little towards hip hop and a more modern sound, which again appears on following tracks like Freak and Art Deco, breaking a little with the direction of the first part of the record but exploring interesting ideas on this second part, starting with the beat heavy Religion featuring also clever string arrangements and the intense dream pop of The Blackest Day, leaving a trail mediocre singers like Miley Cyrus would kill to follow, just check the emotional intensity heights of 24 to appreciate Del Ray mastery as a singer.

Honeymoon is not as powerful record as Ultraviolence, as Lana is not exactly about diversity, but she keeps working hard in creating a full universe subjected to her own rules and she is succeeding step by step.