Lana Del Rey, the Queen of Sadcore and indie music favorite, released Ultraviolence, the titular track off the record she plans to release on June 17. The chanteuse who rarely uses Twitter, except to announce major releases tweeted that the track would debut on BBC Radio at 7:45 p.m. GMT in the U.S. Ultraviolence, which Del Rey debuted at the Vancouver leg of the tour, is quite reminiscent of her earlier work.
After releasing West Coast and Shades Of Cool, Lana follows the promotional blitz for her sophomore album titled, Ultraviolence with the title track. The second track off the album, is a reference to Lana’s love affair with violent romances. It is no secret that Lana, an indie music favorite has always taken old men, L.A., violent relationships and drugs as her inspiration. Her cinematic musical productions focus on the repetitive themes of undying love and deep longing. Lana in earlier interviews claimed that Ultraviolence, will be a “spiritual”, “dark” and almost “unlistenable” work of music. True to her claims, she introduced her direction in West Coast and followed it in the fullest sense in Shades Of Cool.
Ultraviolence, sounds like Lana’s return to the heavy orchestral arrangement she uses on most of her cinematic releases. Picture Born To Die and Summertime Sadness stripped down to guitar riffs – Dan Auerbach’s contribution as a producer for the soon-to-be-released record. MTV calls Lana’s latest effort the spookiest jam they have heard in 2014, and it is no joke. Jim, a regular reference in Lana’s unreleased work like Jimmy Gnecco and Hundred Dollar Bill, gets his first legitimate mention in this track. Lana sings about how, she is a mixture of beauty and rage, referring to the deadly nightshade, a poisonous flower. Referencing The Crystals’ “He Hit Me (And It Felt Like A Kiss),” Lana paints a musical picture of pain whilst in love. This theme, a regular feature in Lana’s music, takes us back to the violent nature of love she wants us to see. The chorus that follows the first verse spirals into the vocal acrobatics Lana employs in her layered tracks. With drums and guitar riffs, the chorus likens the violent nature of Jim’s love to a kiss.
The description of the painful relationship goes on with the second verse, where Del Rey describes the longing that she feels for Jim. Comparing his violent nature to a kiss, Lana mirrors the sentiments from the promotional single Shades Of Cool. Like Dark Paradise and Bel Air, bring religious concepts of death and resurrection, reinforcing the spirituality of the track. Rhyming ultraviolence – a literary reference from Anthony Burgess’ A Clockwork Orange – with violins and sirens, it may seem that Lana Del Rey is endorsing violent love. While domestic violence is definitely not encouraged, the track falls in line with Lana’s troubled past with dangerous liaisons. For those who may label her for anti-feminism, Lana brushes it off as a non-issue, talking about space instead. Feminism, Lana says is boring and her idea of a feminist is a woman who has the freedom to do anything she wants. Justifying Ultraviolence’s theme of violent love with her penchant for hardcore love, the chanteuse skirted politics with a diplomatic move.
After the chorus, Lana slips into the past, trying to right the wrongs from New York, again mentioning lines from her hit single Video Games, where she claims heaven is a place on earth. With references to Marilyn, she slips into a quasi-sung spoken verse, like she does in Carmen. Choosing Spanish over French, the sultry singer voices her eternal love for Jim, before slipping into the chorus.
Lana Del Rey will raise a few eyebrows with the themes she chose for the sophomore release. Give the track a listen and let us know about what you feel about Lana Del Rey’s latest release, Ultraviolence.
Opinion by Rathan Paul Harshavardan