Honeymoon[2 LP]

Honeymoon has what LDR calls "muddy trap energy", which I'm guessing is the dampened drumming, low-key quirky synth beats, and occasional vocal distortion on some songs; it also has Hollywood strings, jazzy sax and piano accents, folksy/bluesy guitars, LDR's frequent vocal overdubs, and diverse but sparingly applied sound samples as mood setters. These production facets accompany an always prominent torch-song voice, and LDR is both lead producer and lead writer (along with Rick Nowels and Kieron Menzies). HM songs are not overly similar to each other, though they vary more in color and mood than tempo. She doesn't want to go fast, so HM is sumptuous, wistful, and emotional instead. Five-stars are for HM's old-school style of singing, re-imagined with newer production (what she calls "futureretro"), and my loving the album as much as her earlier releases. Selective highlights for me: HM's title track is one of only two songs given full lyrics in the CD booklet (the rest have snippets over photographs as was done with Ultraviolence). Brooding Hungarian-flavored noir-film strings (worthy of Bernard Hermann, imo), extraordinary vocal harmonies, and slow scatting are some of its impressive retro features. The song could be about a prostitute's relationship to an elusive super-criminal, who's "Mister Born to Lose" yet nobody is able to find or fight him. It's not for people who like clear meanings from a pop song, but as a mood piece, it's in a class by itself. 'Freak' has horror-movie synths, sax, a melodic Tarzan yell, and restless trap percussion, which struggles to synch with the song beat. Here she runs away to California, a homeland for freaks (like her), and tries to convince her paramour to do the same. 'The Blackest Day' has 6 mins of pop hooks and some complexity (e.g., 2 choruses) to support its length. Though it's about relationship mourning and warfare, nasal vocals, spoken asides, background harp-like arpeggios and cherubic-choir effects, convey campiness as well as sadness. '24' is a Bad-Boy ballad about a violent guy and is rumored to be a Bond try-out song. It does seem to have Bond-esque playing around in the instrumental pauses between LDR verses, as well as Goldfinger tease in the vocals toward the end, but horns and vocal backgrounds are also reminiscent of the LDR/Barrie-James O'Neill cover of Summer Wine (still on Youtube), which Rick Nowels also produced. 'Swan Song' (which directly follows '24') continues the cinematic-kitsch/Bond-vibe; however, it's not redundant but outstanding for the way feeling in singing and melody (one of her best) combine. It's about running away from a lifestyle/job and starting over. As one could misunderstand Swan Song being the album closer, 'Don't Let Me be Misunderstood', a faithful cover of the Animals/Nina Simone song, provides both an encore and disclaimer. It's the only other song with full lyrics in the CD booklet, so there's no excuse not to understand it (or her). Lowlights for me would be God Knows I Tried and Art Deco because of their excess of repetition. However, neither song is really album filler, and with 65 mins of music (no bonus-tracks), as well as songs, which I haven't described, that are also quite good and distinctively different from each other (Terrence Loves You, Music to Watch Boys to, High by the Beach, Religion, and Salvatore), I can't complain too much! As with her prior releases, you can preview the entire album on Spotify and Youtube.

While this is not the step up you might have been expected after hearing Ultraviolence (which was groundbreaking and on a whole different level than its predecessor) it's every bit as enjoyable. I would consider this a continuation of excellent music that almost feels like a more romanticized extension of the dark, brooding sound of Ultraviolence. Honeymoon retains those dark feelings but tempers them with sad crooning and a little more pop appeal (but make no mistake, most of these are not going to be playing on the radio anytime soon). The lyrics get slightly cringe-worthy from time to time but they're are definitely enough moments of utter brilliance to balance out the occasional corny reference (and honestly, that's just her style and I could describe the lyrics of every record she's put out with that same sentence). -Track-By-Track Comments- Honeymoon: It's slow, sad, bittersweet. It's a beautiful song but perhaps not one you're likely to have on repeat, it's not "catchy" or full of hooks. Music to Watch Boys To: Lyrics get a little corny here and there but overall it's very catchy, a good driving song for sure. Terrence Loves You: I consider this a sleeper track. At first I wasn't impressed but then I found it got stuck in my head and I was singing it throughout the day. It starts a bit slow and uninteresting but builds momentum quite well. God Knows I Tried: Lana still seems a bit young to be belting out a soulful tune about experiencing hardship but she has the voice for it. This is a very enjoyable song, it reminds me of something I might have heard from Nina Simone. High by the Beach: This song almost seems out of place on this album. It's the "poppiest" of all the songs and almost seems designed to be a single, as if they realized there wasn't much "single" potential for the other tracks and wanted something to shoot a video for to help promote the album. It works out for us because it is a pretty catchy tune. The lyrics aren't winning any awards but I'd be lying if I said I haven't already listened to this a couple hundred times since it came out. Freak: This is my favorite song on the album. It's infections, sensual, dark ... I might have believed it popped right out of Ultraviolence but it has some pop charm in the spirit of Born to Die that brings it to a higher level. Art Deco: A great transition from Freak (If you listen to the track it actually fades directly from Freak. The effect doesn't work well on iOS but should come through on the CD or your PC). The chorus is somewhat forgettable though, what I love about this song are the verses. There's an occasionaly corny moment in the lyrics but it's hard to even get miffed about it since the song is so enjoyable as a whole. Religion: A solid track, bordering on sounding a little too bright but well-controlled with lyrics that offer both hope and despair. Salvatore: Lyrically not that impressive but the sound is very enjoyable. I agree with the many people who have suggested Lana do some spy movie themes, this feels like it was lifted from a James Bond flick. The Blackest Day: The higher range of her voice (which is actually closer to how she sung as Lizzy Grant, before taking the Lana Del Rey stage name) is a little grating but the song is still enjoyable, the chorus actually shines really nicely here which is kind of abnormal in my view; I tend to prefer her verses. 24: It's not a bad song but I just can't get over the fact that she says "There's only 24 hours" instead of "There are only 24 hours" and it bugs me to the point of having to change the song sometimes. Overall solid though, not my favorite lyrically. Swan Song: I like the vocals and the strength in the chorus. Lyrically it's interesting and provides a good mixture of emotions. It starts a bit slow though, I feel this could have been edited down just a tad and still be worthwhile. Don't Let Me Be Misunderstood: This plays more on the Animals' version than Nina Simone's but it's still very enjoyable, in fact I'd say it's one of the best covers I've heard for this song. And there are quite a few really bad ones with surprising popularity.

an immersive masterpiece.

This is like the theme music to 007 mixed with "Sunset Boulevard", a mixture of James Bond and Norma Desmond with T.S. Eliot smiling in the background. Dig it. Give this album a chance. Because of the tempo, it may not be as popular as her other albums but the artistic level is as good as anything by anybody. Like her other albums the more you listen to it the better it sounds. The song "Honeymoon" lays the foundation for her most consistent album yet. She's maturing as an artist and a human being. It's impressive the way she uses the cinematic sweep of Hollywood illusions and dreams to combat the demons. All of these songs flow into each other with just the right amount of unique touches that grab your attention and wake you from the floating current and stream of the music she's created. Her love of beauty and poetry in a dirty world.... "shines on". My favorite song here is "Honeymoon". The lyrics and performance are excellent. . The lyrics to the song are included in the beautiful insert. "We could cruise to the blues....and the "news"..... Love her vocals throughout. She sounds aloof and detached but she's not. She knows exactly what she's doing and delivers again. No other popular artist sounds like her. The whole concept of the album is her's all the way. At the end of the album she is asking for understanding from God and everyone else. She knows she will be misunderstood by many.....that's just the way it is. Good work "Lana Del Rey"

In Her { HoneyMoon Cd } Music Artist [ Lana Del Rey } has " Artistically Crafted A Alternative Music Masterpiece " . Many Professional Music Critics ( And I Agree ) Are Stating That " Del Rey's Vocal Voice Commands Attention Throughout The Entire { Honeymoon Album --- In Retrospect . " Del Rey's Vocal Voice Has Never Sounded " Better " Nor ' Stronger " Than In Her New { HoneyMoon Cd ) . Del Rey is " True Master of Music Recreation " Making Her New " HoneyMoon CD " A " Much Different, ( From Any Of Her Previous Albums ) Yet The Sound Of " HoneyMoon Cd " Reflects A " New, Fresh, and Vibrant Sound Quality " ( Lana Vocals Sound Fabulous Throughout The " Entire ( HoneyMoon Cd ) This " Sensational Vocal Quality " Is Reflected Best On The Songs " HoneyMoon " And " Terrance Loves You " . I Think That With The Creation Of This New Album { HoneyMoon ] --- This could in turn be " Lana Del Rey's Big Comeback Year " . " HoneyMoon " is a " Sensational Vocal Music Experience " --- One that " I personally would recommend to all music listeners " ff

Sonically it has some good moments, the vocals are great. Lyrically it's a little lazy and bare-bones. Conceptually I would say this is her weakest, even if it's potentially more even sounding than BTD. There's just not enough there to convey much other than sad, hazy sensuality, minus the edge, the wit, or the unapologetic middle class sass. UV replaced some of those with edgy psychedelia. These songs are pretty, but she's better than all of them quite honestly. In a way it feels sad that she worked so hard to put together her entire universe only to distill it to its bones now that a lot more people are paying attention. I miss the venom and the kitsch. Update, 6 years later: This is actually became my favorite Lana album. It took a bit longer for it to *click* for me, but once it did, I came to really appreciate and love it. It's one single uninterrupted mood from start to finish. It's an amazing album to play while working/cooking/etc because it kind of peacefully blends in the background and only occasionally breaks through and reminds you it's there. The Blackest Day might just be my favorite song by her ever. As good as LFL and NFR are, and as much as I love the new single from Chemtrails, I don't know that she'll ever top Honeymoon.

Amazing album 💿 It has a beautiful presentation. It includes posters. <3 This is a great product and feels special. No need to buy limited versions resells.

Bought this Vinyl it looks and sounds beautiful now I would put 5 stars but one of the vinyls well it’s sticker was overlapping it’s designated area which yes looks bad but it doesn’t effect the music I would return it but it’s just the sticker so it’s all good.

Goed aangekomen

作家の高橋源一郎氏がラジオ番組の中で取り上げていて、今さらながらLana del rayを知ったにわかファンです。 これまで「Bone to die」「Lust for life」「Chemtrails Over The Country Club」を聞いてきましたが、本作が一番自分好みでした。 還暦を過ぎた自分からすればほぼ娘くらいの歳の彼女の歌に、なぜこれほどまでに人生の深みや苦味を感じてしまうのか不思議なほどです。

Detto e fatto. Dopo aver fatto la conoscenza di Lana Del Rey dietro consiglio di mia figlia attraverso l'album "Ultraviolence" del 2014 mi ero ripromesso di approfondire l'argomento. Eccomi quindi alle prese con questo "Honeymoon" del 2015 ed eccomi ancora entusiasta a parlare di lei. Dunque, io sono troppo vecchio per mettermi a disquisire sul "personaggio" Del Rey, sulla sua autenticità, sulla sua mega esposizione attraverso i social media e sul suo atteggiamento da "diva" del secolo scorso. Io mi concentro sulla musica, e la musica della Del Rey mi affascina da morire. Mi affascina quel suo gusto retrò, quel suo giocare con atmosfere sornione, sofferte, decadenti, mi piacciano quei suoi arrangiamenti sofisticati e molto cinematografici, mi piace quel suo camminare con disinvoltura su quel sottilissimo filo che separa il buon gusto dal cialtronesco. Adoro la sua voce, la sua capacità di usare un simile dono. Avevo trovato tutto questo in "Ultraviolence" e l'ho ritrovato in "Honeymoon" dove il gusto decedente è ancora più accennato, dove il romanticismo è ancora più evidente. Un lavoro che trasuda sofferenza, pene d'amore e esistenziali, e se siano vere o perfettamente recitate questo alla fine lo sa solo lei.E in fondo poco importa mio avviso perchè questo discorso andrebbe applicato a qualunque autore. "Honeymoon" è un album atemporale, avrebbe suonato bene 50 anni fa come suona bene oggi. Capisci che aria tira fin dalla copertina, davvero iconica, davvero figlia dei tempi resi celebri da telefilm come Happy Days... ti ci immergi con piacere in queste atmosfere, ti avvolgono. Io mi perdo alla grande nella pura tradizione americana, adoro il jazz e sono un vero appassionato di avant jazz e musica d'avanguardia, ascolto blues e soul, quelli puri non quelli cartolineschi.... eppure io nella musica di Lana Del Rey mi perdo che è un piacere

Everything is good

Jolie voix, reposante. Le CD est bon dans sa totalité.