So, Auerbach’s out, and there’s some new faces involved instead. So we bumped heads a little bit, but at the end of the day we were dancing to the songs.” I could sense that maybe she didn’t want to have anybody think she wasn’t in control because I’m sure it’s really hard to be a woman in the music business.
Auerbach had previously hinted that he and Del Rey had occasionally been at loggerheads in the studio, stating: “There were moments when she was fighting me. The Black Keys’ Dan Auerbach worked with Del Rey on the languid rock of ‘Ultraviolence’, but he revealed to NME earlier this year that the pair had decided not to work together again. Chuck in a live cover of ‘Who Framed Roger Rabbit?’, references to legendary filmmaker Fellini in interviews and the noir-like flourishes of new single ‘Honeymoon’, and it’s possible that Lana’s next album could be her most cinematic yet. Since ‘Ultraviolence’, most of Del Rey’s releases have been for film scores: in the past 18 months or so she’s contributed music to Tim Burton’s Big Eyes, the story of artist Maggie Keane, and the song ‘Life Is Beautiful’ for the flick The Life Of Adaline. “I’m ready to go into more of a ‘Lucy In The Sky With Diamonds’ surrealist place,” she told the Inquirer earlier this year, revealing that the record would be less “heavy and autobiographical” than its predecessors.
The songs on both ‘Born To Die’ and ‘Ultraviolence’ saw Del Rey deal with besotted girls who stay put in torrid romances: reference points that inspired Kim Gordon to claim that the singer “doesn’t even know what feminism is.” But Lana’s claimed that, this time round, she’ll be looking elsewhere for inspiration. The promo’s not appeared yet, but Del Rey’s not been shy of talking it up.”The title lends itself to a visual of shadows of men passing by, this girl’s eyes, her face,” she said. According to Del Rey, ‘Music To Watch Boys To’ was originally planned to be the album’s title track, while model Jake Mast claimed in June that he and Lana had filmed a video for the song. “I love this song because it encapsulates all of the things that come naturally to me.”Īnd here’s the other track that’s a dead cert to make it onto the final cut of ‘Honeymoon’. “In some ways I feel it’s where the record begins and ends,” she wrote on Instagram. This time, though, the singer has suggested that the title track is a perfect snapshot of the album as a whole. One of the most fascinating things about Lana’s big breakthrough, the viral-smash ‘Video Games’, is how dissimilar it was to large portions of debut LP ‘Born To Die’: she made her name with a big, brooding ballad, but the album that followed took detours via hip-hop (‘National Anthem’), R&B (‘Mountain Dew’) and smoky, sultry pop (the title track, ‘Blue Jeans’). More faded glamour and big ballads about bad boys But what can we expect from the album, which Lana is expected to release this September? We’ve put on our sleuthing hats, puzzled over the clues, pored over Lana’s comments and social media posts, listened to the handful of new tracks she’s debuted since 2014’s ‘Ultraviolence’ – and here’s what we think might be in store… There’s lots of people who’d disagree, though: since she unveiled the song earlier this week, excited chatter among fans for her next step has reached a feverish high. “We both know that it’s not fashionable to love me,” sings Lana Del Rey on ‘Honeymoon’, her new single – the title track from her forthcoming third album.
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