I agree, it’s very simple both sonically and lyrically, but it still has a really good vibe to it. I love the drums at the beginning, I love the vocal arrangement, especially before the chorus kicks in. I don’t even care it’s one of the most hated Lana songs. I mean, it’s a lovely concept and I am aware of the story behind the song, but sonically it’s not Lana’s best. Something happened in the middle of the Ultraviolence creative process that made Lana drop all the jazz and rock inspirations for the sake of these sad-core yet soapy Melanie Martinez/Pity Party tunes and I really don’t get why… It’s also a cute way to end such an emotionally honest album. The Other Woman is Lana Del Rey’s second-best cover that ever made it into her official discography, mostly thanks to the vocal performance and the vintage feel. It does sound a bit generic, though, and becomes tiring after a few times. This Jaguar-commercial-song includes very low vocals and a fast beat, which is a good sound for Del Rey, generally.
Lana’s version of the iconic Nina Simone song is lovely yet unadventurous. I love when Del Rey incorporates baby voice into her music, but not on this occasion… I will never understand why Florida Kilos is a fan favourite. Despite the lovely vocal performance, it will always be a cover from the fast fashion brand advert. In 2012, Lana Del Rey covered this 1950s classic, which was later used in a haunting H&M commercial. It does deserve a few claps for the subject matter but everything else, from vocal production to annoying “go, go, go, go!” bits in the chorus is a disaster. The track’s production doesn’t match the melancholic, sad-rock vibe of the first few songs. One of the most controversial songs on the iconic Ultraviolence was never my cup of Earl Grey. It’s too long, lyrically forgettable and comes across as forced. The track number 13 on the Honeymoon album does seem a little unlucky. This last minute addition to Del Rey’s 2017 album Lust for Life feels like it should have been a blog post.
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