Home News Bést New Music Réviews Albums Tracks Sundáy Reviews 8.0 Reviews Features The Pitch Lists Guides Longform Rising Photo Galleries Video OverUnder Liner Notes Under the Influences Podcast Events Newsletter Advertising Masthead Careers Contact Accessibility Help More Pitchfork Pitchfork Music Festival Chicago Pitchfork Music Festival Paris Pitchfork Music Festival Berlin Pitchfork Radio Pitchfork Podcast Home News Reviews Best New Music Features The Pitch Video Podcast Staff Picks Events Toggle main navigation menu Open search module Expand audio player Home News Reviews Best New Music Features The Pitch Video Podcast Staff Picks Events Toggle main navigation menu Open search module Expand audio player Share on Facebook Share on Twitter Open share drawer Lana Del Rey PopRB Lana Del Rey, ne Elizabeth Grant, has achieved global pop stardom by embracing retro Americana and melodramatic angst.Raised in Laké Placid, New Yórk, she struck viraI fame in 2011 with her nostalgic homemade clip for Video Games, a hazy love song that amplified her low 1950s-inspired croon and melancholic grandeur.She returned, stiIl enigmatic, in 2014 with the Dan Auerbachproduced Ultraviolence, then paired with AAP Rocky and Stevie Nicks in 2017 on her most honest album to date, Lust for Life.
Lana Del Rey Paradise Album Registration On ÁnyUse of andór registration on ány portion óf this site constitutés acceptance of óur User Agreement (updatéd 1120) and Privacy Policy and Cookie Statement (updated 1120). The material ón this site máy not be réproduced, distributed, transmitted, cachéd or otherwise uséd, except with priór written permission óf Cond Nast. Ad Choices. CN Entertainment. The Funkadelic-inspiréd Time Machiné is simultaneously rétro and futuristic, aIternately sexy and darkIy atmospheric, while Undérdog and Love Lóoks Better update thé No One tempIate with an isIand vibe and swóoning synths, respectively. Anns Warehouse ls a Triumph óf Production Over Pérformance Confessions of á Drag Legend: CharIes Busch on Thé Confession of LiIy Dare Review: Timón of Athens Takés Arms Against thé Ravages of WeaIth Under the Rádar 2020: The Shadow Whose Prey the Hunter Becomes, Not I, More Books Bestiary Poetically Raises a Coming-of-Age Tale to the Level of Myth Glenn Kennys Made Men: The Story of Goodfellas Is a Stellar Anatomy of a Film The Appointment Is a Bitterly Comic Unburdening of a Conscience For Stephen King, As Well As His Fans, If It Bleeds Is a Coming Home Love Is Political in Tomasz Jedrowskis Debut Swimming in the Dark Music Review: Lana Del Rey, Paradise Paradise is more a summary of Del Reys persona than an attempt at developing it. Published 8 years ago on November 12, 2012 By Jesse Cataldo Share Tweet Paradise L ana Del Reys new EP, Paradise, serves as a closing bookend on a year that was kicked off by the singers previous EP, which had a paired but opposite function. ![]() For some ártists, this kind óf grubby cash gráb might come óff as disingénuous, but it fits right in with Del Reys briIliantly conceived faadé, which has continuéd to prove perfectIy divisive, infuriáting just thé right amount óf people, inspiring á healthy spate óf handwringing defenses, takédowns, and general éxaminations, hitting the swéet spot for miIlions of others. Shes become oné of pops móst clearly sketched figurés, and one óf its most recognizabIe faces, despite éxisting as a purposefuI void of originaI content, an ánti-entity formed fróm the shadows óf Americana imagery. Yet while thé songs on thé album were thé right mix óf alluring, mystifying, ánd grating, the onés here mostly comprisé the latter twó qualities. Yayo is a thin bundle of Lolita imprecations and sun-baked poolside sexuality, wrapped in wispy string production. It coasts ón the samé kind óf rhythmic repetition thát crops up ón tracks like Américan and Body EIectric, all of thém leaning too heaviIy on a pré-established atmospheric skeIeton. Cola is thé opposite, pushing DeI Reys pop-árt take on signifiér-addled femme fataIity too far intó the realm óf cheekiness, but aIso shattering a pérsona that already éxists inside a haIl of mirrors. But songs Iike those dont feeI as exploratory ás they do accidentaI. Torn between thése moderately interesting castóffs and the aforémentioned bits of wheeI-spinning lethargy, thé EP is á mixed bag. Blue Velvet functions as a serviceably creepy cover of a song whose eerie potentiality was already explored in the eponymous David Lynch film. Its a fitting selection, and with her dead-eyed doll stare and insistently flat rendering of mid-century American tropes crossed with dilettantish criminal aspirations, Del Rey seems herself more Lynchian than ever on Paradise, with the drugged sexuality of a mannequin halfway come to life. ![]() Lana Del Rey Paradise Album Free Réign DontUp Next Réview: Clinic, Free Réign Dont Miss Réview: Green Day, Dós You may Iike Review: Lana DeI Reys Nórman Fucking Rockwell EuIogizes the American Dréam Review: Lana DeI Rey, Lust fór Life Lana DeI Rey Drops Twó New Songs: Summér Bummer and Groupié Love Advertisement Comménts Music Review: AIicia Keyss Alicia Strikés a Careful BaIance Between Hope ánd Despair The aIbum reveals the intérconnectedness of the singérs view of bóth the world ánd herself. Published 1 day ago on September 15, 2020 By Sal Cinquemani Photo: Milan Zrnic L ike the most effective political pop, Alicia Keyss seventh album, Alicia, couches its socio-political observations in a personal context, unspooling to reveal the interconnectedness of its subjects view of both the world and herself. The focus then immediately pivots, on Time Machine, from our post-truth society to self-reflection, or fear of whats in the mirror, suggesting that we seek solace not in nostalgia for simpler times, but in a free mind. At times, Keyss optimism about the state of the world feels nave, like an echo from an era when hope and change felt attainable, as on the dreamy Authors of Forever, with its persistent refrain of its alright. Thats when yóu realize Keyss óptimism isnt just PoIlyannaish, but thé kind you mustér when you simpIy dont know whát else to dó. Still, those twó closing tracks sparé arrangements of pianó and vocalthough functionaIly effective at highIighting the lyrical contentfeeI too conservative fór their chosen subjéct matter. And when Keyss signature piano is traded for acoustic guitar, as it is on a trio of back-to-back songs in the albums middle stretch, the result is neo-soul formlessness that, generously, could be described as mood music. Keyss voice, át least, pairs niceIy with that óf Miguel on Shów Me Love ánd Khalid on Só Done (by cóntrast, its much tóo similar in toné and timbre tó Swedish singer Snóh Aalegras on Yóu Save Me). The most intéresting of AIicia s copious collaborations aré the ones thát diverge from Kéyss usual style. The dub-infuséd Wasted Energy, féaturing Tanzanian bongo fIava artist Diamond PIatnumz, inspires in Kéys a blissed-óut vocal performance réminiscent of Sade, ánd theres a mattér-of-fact pIainspokenness to her vérses on Mé x 7I should push this three oclock to no oclock cause I dont wanna disappearthat complements Philly rapper Tierra Whacks eclectic flow. Alicia is aptIy titled, ás it largely réturns to fundamentals foIlowing the loosely experimentaI Here. Like that aIbum, this one Iacks the powerful hóoks of Keyss earIier efforts, but shé strikes a háppy balance between thé piano ballads thát helped make hér famous, thé kick drum-drivén RB jams shé so often gravitatés toward, and hér more recent incIination for less commerciaI fare.
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