Music Review: 'Born to Die: Paradise Edition'
Lana Del Rey’s album, “Born to Die: Paradise Edition,” provides a ’50s and ’60s feel while incorporating lyrics that give her music a more contemporary influence.
Born to Die: Paradise Edition
Lana Del Rey
INTERSCOPE RECORDS
By Brittany Taylor
Nov. 20, 2012 11:45 p.m.
Big acrylic nails and plump lips are all a part of Elizabeth Grant’s daily appearance. Most know her as Lana Del Rey and can recognize these features.
The 26-year-old singer gained recognition with the release of her single “Video Games” in 2011.
With songs like “National Anthem” and “Blue Jeans,” Del Rey’s cinematic voice shined on her second album “Born to Die.”
Lana Del Rey released the Paradise Edition of her album “Born to Die.” The EP is packaged with her previous work and can be bought separately.
The eight-song record features songs that display Del Rey’s melodramatic style along with her silky voice.
Del Rey’s sultry voice and ’50s sound still manage to bring the listener to the present with witty lyrics.
The album begins with “Ride.”
The song starts with a slow piano progression and an ominous humming before Del Rey begins with the lyrics, “I’ve been out on that open road.”
The singer’s voice is beautifully depressing, like Nancy Sinatra’s, as she sings the lyrics, “Don’t turn around / Leave me high and dry.”
The melody that accompanies is very soft and allows Del Rey’s voice to shine. The song does a great job at combining string sounds and soft drumming, which makes for a cinematic feel as Del Rey discusses her travels.
The song “American” showcases a simple piano and string accompaniment that steadily strums in the background. It sounds very eerie as Del Rey’s voice takes over and starts to describe a childlike fascination with driving fast and praising Bruce Springsteen. The lyrics and sound become innocent as she continues to sing, “Spin me “˜round like a child.”
Despite her softer side, Del Rey doesn’t stray away from using raunchy lyrics, especially in “Cola.”
She refers to herself as tasting like Pepsi Cola. The song continues as the electric guitar strums in the background, and Del Rey’s voice displays range with an insertion of falsetto and high whistles.
“Yayo” gives off an eerily sexual feel due to Del Rey’s voice alluring the listener. The sexualization of the song seems to be attached to some “Daddy” that the singer seems to fall in and out of love with throughout the album.
With lyrics like “Let me put on a show for you Daddy,” Del Rey’s voice sounds haunting and lethargic.
The music box sounds that slowly play behind her ethereal voice add to the eerie and sluggish feel of the song but also give the song the feel of a ’50s ballad.
Both “Yayo” and “Bel Air” drag on toward the middle because of Del Rey’s voice lacking much range and sounding monotonous.
Lana Del Rey has created an album full of ballads from the ’50s and ’60s with the bawdy attitude and lyrics of this century.
The string sections in the songs manage to be hard-hitting at some moments and gentle the next, which separate it from many pop albums out now that are clouded with loud beats to cover dull lyrics. This album gives the listener the chance to really listen to the lyrics and decide if they are good or not, rather than being fooled by a catchy beat.
Email Taylor at [email protected]
