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Gymspiration with Matthew Hanham

Honeymoon is one of the most anticipated albums of 2015. Earlier this year, Lana mentioned that she planned on bringing back the sound of Born to Die in this album and it will be totally different from Ultraviolence (which a lot have expressed disappointment about despite its universal acclaim from critics). Personally, I was worried when I heard she is bringing back Born to Die because I really wanted her to try a new sound.

Lana Del Rey surpasses expectations because Honeymoon exhibits her maturity as an artist. Honeymoon in a holistic perspective is taking the criticisms she has received from her discography into account and combining each of the album’s strengths to artfully craft a wildly melodramatic, glamorous, and passionate record. Unlike her previous albums, what makes Honeymoon stand out is that it is brilliantly structured; every track smoothly transitions to the next.

The sweepingly somber title track, “Honeymoon”, is truly a strong opening curtain for this album. From its dazzling string arrangements to the layering of her vocals and the rising action during the bridge, it is indeed movielike. Also an effective title track as it gives an overall glimpse of the album’s atmosphere. The perfect way to follow up a down-tempo opening is the hypnotic “Music To Watch Boys To” which is a strong example recalling Born To Die’s sound for its quite upbeat and energetic trip hop sound. Although, there is a twist such as the angelic 30 second a capella intro which is a musical gift to her fans since she hasn’t done an a capella in her previously released songs. “Terrence Loves You” is one of Lana’s greatest ballads to date from its stripped down production, beautiful piano melody and subtle jazz. Not to mention, the bridge that gives chills down one’s spine every time.

The sincere “God Knows I Tried” recalls Ultraviolence’s “Shades of Cool” because of its guitar riffs that makes it sound like it belongs in a James Bond movie. Although, what makes this track stand out is the fact Lana has never sounded this vulnerable in a song since she sings about her coping with fame, overcoming her struggles and declaring her spiritual beliefs. She sounds very human in this track. The leading single, “High By The Beach”, is an airy electronically produced track then which is ideal to come after the previous track as it lyrically could show that this is Lana’s way of escape. It is also definitely her most radio friendly song up to date without sounding too mainstream so good job to her label for releasing it first.

The next track is the hauntingly amazing “Freak” which has an extremely catchy hook and a melody that makes you feel sexy. It can also be a parallel to Ultraviolence’s Florida Kilos (Come on down to Florida / Baby if you wanna leave come to California). However, what makes Freak stand out is its exuberant trip hop production and jazz orchestra accompanying Lana Del Rey’s layered moans. (Also during the bridge, Lana talks about “taking it in the back” and I live for that.). After the song, it smoothly transitions to the dreamy techno “Art Deco”. She brings back her gangsta Nancy Sinatra persona that reminds of the verses from National Anthem (you’re so Art Deco… you’re so ghetto / Ooh yeah baby bow down making me so wow wow). Lana Del Rey’s reading of “Burnt Norton”, is ethereal in every sense. Moreover, its message applies to the overall theme of Honeymoon and having studied Advanced level English and taking a course on Academic Writing, I can analyze it further why but this review is longer than I expected so I’ll just leave it to your interpretation. Furthermore, it makes you feel like you are being transported to a different dimension transcending space and time and this is the perfect intro for the next track.

“Religion” is a majestic epic. Just when I thought the “hallelujah” from Ultraviolence’s Money, Power, Glory is the most glorious thing I’ve ever heard, Lana surpasses my expectations. She is not talking about the glory of money but how she sees her lover as her religion with a brilliant innuendo (I can envision that for a minute. When i’m down on my knees, you’re how I pray.) Listening to the song is like experiencing being venerated to sainthood because of its buildup. The string arrangement in this track is also gorgeous and I’m glad that this is highlighted during the instrumental interlude after the second chorus before the bridge. The next track, the glamorous “Salvatore”, begins in an ambient tone like a man’s faint shouting and a striking violin intro. Listening to this track is like taking a trip to Italy for its lush Italian hook (Ciaccatore ~ Ciao amore.) Only Lana can sing “soft ice cream” and it sounds sophisticated as she made “pink flamingos” sound good from the album’s wistful second track.

The next track, “The Blackest Day”, is a marvelous blockbuster for its diverse lyrics and its 6:06 length gives this song so much justice (I wish it was longer to be honest but we rarely get amazing long songs). You might have expected the reason for that is it is down-tempo like Cruel World from Ultraviolence but this track is rather mid-tempo with three different and stunning melodic hooks (Ever since my baby went away, it’s been the blackest day… Cause we’re going deeper and deeper hotter and hotter… In all the wrong places, oh my God). This track is indescribably picturesque. The final verses is a variation of the song’s third melodic hook (It’s not one of those phases or just a song, it’s no one else’s, I’m on my own again) and these lyrics perfectly flow to the next track, “24”, which is seriously brilliant. Never have I ever heard an album where the lyrics are used as a transitional device. There is then another Italian-like string arrangement for the production in this song and it really serves as the continuation to The Blackest Day as she laments about how 24 hours is not enough to spend with your lover. Also wonderfully produced having a boisterous string arrangement and an orchestra accompanying Lana’s humming during the chorus.

In respect to Honeymoon’s story, “Swan Song” can be considered the closing curtain as it has a sweepingly ethereal intro and its solemn melody embodies the title. (I will never sing again and you won’t work another day.) Listening to this song is like watching a ballet performance, the string arrangements in this track is magnificent. You really wish this track is not her swan song so you would ask for an encore which finally brings us to Lana’s gorgeous rendition of Nina Simone’s “Don’t Let Me Be Misunderstood”. I admit, I am not a big fan of her previous covers like Blue Velvet and The Other Woman that is why I was nervous about this. And wow, I am pleasantly surprised. What I did not like about her previous covers is that they sounded too oldies but what Lana did for this one is she gave a rather contemporary interpretation to the song and it is spectacular.