Lana Del Rey’s New ‘Love’ Video is As Somber and Full of Hair Flowers As You Think It Is

Lana Del Rey has at last released the video for her latest song, “Love.” She really has always had a way with titles.

The clip, directed by Rich Lee, shows the Lana we know and love: romantic, dreamy and nostalgic, this time with an intergalactic twist. The 70s-inspired video follows everyone’s favorite sad girl’s journey to space via a retro car. Don’t think for a second the new song and vid isn’t as croaky, kooky, and mopey as ever. Lana is back, and she’s behaving just the way we like her: as if she just woke up from a three year coma nap and isn’t quite back with us yet.

Though it’s been two years since her last big album, Honeymoon, the singer recently promised that her fifth full-length album will be out soon.

Check out the video below.

Lana Del Rey Reveals New Album Release Date

lana del rey new album

Lana Del Rey’s new album comes in fast after the success of last year’s Ultraviolence.

America’s melancholy muse Lana Del Rey announced at a recent show in Washington that her fourth studio album, Honeymoon, will drop this September. A departure from last year’s Ultraviolence, she told Billboard in a recent interview that the new album will bear more resemblance to the noirish feels of Born to Die and Paradise.

It was also revealed on Instagram that Lana Del Rey already shot two music videos for Honeymoon, one of them being for the “future-retro” titular track.

The exciting news comes on the heels of the success of Del Rey’s Golden Globe-nominated song “Big Eyes” and the Endless Summer Tour, a few shows of which were co-headlined by Courtney Love in a pairing that surely made Kim Gordon’s head explode.

We’re excited to hear Lana Del Rey’s dulcet tones again on some new work, as well as her interpretation of Don’t Let Me Be Misunderstood, made famous by the one and only Nina Simone.

“After doing a cover of [the Jessie Mae Robinson track] ‘The Other Woman’, I like summarizing the record with a jazz song,” she told Billboard. “I’m having fun with my interpretation.”

We don’t want to rush the summer, but September can’t come soon enough.

Photo via Wikipedia

Quiz: Which Lana Del Rey Persona Are You?

Still from Shades of Cool music video

Lana Del Rey’s new album came out this week, and it’s the stuff of sad girl fantasies. This album is about to be the soundtrack to so many benzo-bathtub sob sessions it’s insane. Sad girl Lana, however, is only one of the many flavors of Del Rey.  Take this quiz to figure out which LDR persona you are, and then get back into the bathtub.

Hi-Five: Lana Del Rey’s New Release, Mainland, Ab-Soul + More

Cage — Take the Elephant (Nebbra Remix)
Nebbra is often compared to Flume, and this remix helps to exemplify why. The use of synths mixed with upbeat horn instruments, both of which fluctuate between different levels of intensity throughout, come together nicely on this brand-new remix.

Laurel — Shells
19-year-old singer/songwriter/producer Laurel is out with her latest track “Shells,” which was originally purely acoustic (and written when Laurel was just 17). This version of the song, however, transitions from slow misery to a hip-hop infused head bobber.

Ab-Soul — These Days  (Feat the O’My’s)
TDE artist Ab-Soul has released “These Days” in anticipation of his upcoming album of the same name. The laidback feeling remains intact besides Ab-Soul’s impressively fast-paced flow.

Lana Del Rey — Flipside

In honor of LDR’s album release today, it’s only appropriate to give her a shout out with my current flavor off the record, “Flipside.” Like the rest of the new album, the song is void of any heavy percussion or hip-hop ambience, allowing us to focus on the actual voice of the artist we love (or hate).

Mainland — Leave the Lights On

I’ve written about up-and-comers Mainland before, and am excited to show their new music video for “Leave the Lights On,” featuring the talented cuties skateboarding through the streets of NYC.

Follow Mathias Rosenzweig on Twitter 

The Ravishing of Lana Del Rey

Promo image from “Tropico”

 “That she had so completely recovered her sanity was a source of sadness to her. One should never be cured of one’s passion.”

– Marguerite Duras, The Ravishing of Lol Stein.

I remember seeing my first Lana Del Rey music video: Video Games. Jokes were made about her later on, even before the SNL performance. I’m sure you may know of her SNL performance, or perhaps you laughed at an Internet meme that read LLAMA DEL REY where a llama pursed its lips mocking hers? Whatever you’ve heard about Lizzie, especially after this last weekend of everyone worrying for her and further perplexed by her Laura Palmer-esque air that she exudes, she’s probably heard herself magnified by 300x. She’s not your average Instagram or Twitter girl, spilling her feelings out every 35 minutes. That’s not Lizzie Grant’s style. She’s a songwriter and tells stories, real or not.

With her latest album Ultraviolence, Lana has bigger plans for the masses, as well as her peers. (Juliette Lewis once criticized Lana via Twitter saying, “Wow watching this ‘singer’ on SNL is like watching a 12 year old [sic] in their bedroom when they’re pretending to sing and perform #signofourtimes”. That changed later on when Lewis came to social media with Lana Del Rey posting a photo with the caption #twistedsisters, realizing how significantly talented her songwriting was.)

Wicked and oozing controversy, Lizzie Grant (aka Lana Del Rey) is pushing buttons with her latest lyrics, referencing heroin, guns, and the apathy that comes with being misjudged by a depraved world of people who hide behind their computer screens, cruel men, and herself. After Ultraviolence, everyone will walk away with yet a different opinion and a stronger one. This juicy material isn’t what the Top 40 was built for, so it’s quite obvious that Lana isn’t here for the hits across the radio. Summertime Sadness, remixed by Cedric Gervais, eventually grabbed the radio’s attention and skyrocketed on the Billboard charts. Of course, only in America, her song hits the radio charts once the tinge of EDM became infused with Lana’s vocals. In regards to everyone suddenly singing her music after the mediocre remix, Lana said, “It just reinforces the fact that…not that nothing really matters, but that other people’s opinion don’t really matter because it can change on a dime. And if people are so ready to change, maybe they don’t have the strongest character”.

Previously, she’s maintained a solid foundation for the internet savvy, dropping mix tapes and leaking tracks, while providing a connection to her fans via social media. Video Games, her breaking track depicting a young and innocent love was a moving ballad that felt so vulnerable that you might just cry listening to it the first time. The album Born to Die, in contrast to Ultraviolence, was the bubbly and committed effort that grew more and more viral, capturing the likes of glorified public figures today, like Kim Kardashian and Angelina Jolie. Its vocals ranged high pitch and baby-like, and immediately drew a mixed response from critics. This was also her first and foremost step into the limelight. Ultraviolence is an album that ultimately feels like Lana’s deliberate ambition to not prove anything to others, but just to herself.

Pitchfork had previously compared Born to Die to “faking orgasm,” a rather strange statement that almost feels sexist, so surely writers will speculate many things about her and continue the nasty behavior that floods the web, spreading rumors about the singer’s mental health or personal life. She’s smart and knows that. She’s practically poking fun at all of the guilty parties with Money Power Glory, a new track that blatantly states the desire for all three attributes, something this world reinforces with Top 40. In past interviews, Lana has been quoted saying that the “criticism” she faces from the media isn’t necessarily constructive but that it’s personal, specifically targeting her as a rich man’s daughter and robbing her of any talents that are merited. Now, in the wake of the haunting Ultraviolence, Lana has spoken of her death wish, telling the Guardian, “I wish I was dead” in a recentinterview, causing the interviewer to become somewhat concerned. Fans immediately reacted online, supporting her and telling her that they don’t want her to die. Ultraviolence certainly sensationalizes her inner demons and her conscious efforts as an artist, as a woman of a turbulent generation in the strangest of times where luxury is worshipped, working as some sort of emotional catalyst for her career. The mysterious nature of such statements and lyrics that Lana Del Rey professes to the public allow an existential conversation that touches upon our confused times, where viral content is shared and hoax deaths occur on a seemingly daily basis. When the listener plays the entirety of the album, there’s a strong sense of escapism, ironic awareness, and, yes, bitterness, as one would expect after facing the hardships she’s faced.

Lana’s vocal range on this album goes to places that you couldn’t imagine from hearing her two previous albums. This is angrier, more aggressive; it’s nasty, it’s sweet, it’s desperate, and it’s deliciously enticing, like a good fait divers or New York Post headline that makes you stay one minute longer in the bodega. It’s also delicate and fragile, allowing listeners to relate on a more personal and human level.

While America was certainly quick to judge Lana, Europe graced this provocative starlet with a massive platform of devout fans — mostly younger and hormone-ridden, but also the older and wealthy, bridging generational gaps in the modern landscape she’s created for us to fantasize about or perhaps interact with. Not only that, Lana’s platform exists within the realm of glamorous city life, occasionally performing at intimate events in Los Angeles or Paris clouded with city dwellers, or at weddings where the bride and groom are two people you may know from the media: Kim Kardashian and Kanye West. The first time I ever saw Lana Del Rey was at Soho House, the members only worldwide club chain, at the New York location. The crowd was diverse, ranging from that one ex-A$AP member I used to smoke weed with when I lived on Chrystie Street, to Swiss Bankers and their younger, gold-digging girlfriends sipping martinis. There were people lounging on the floor next to the piano, leisurely awaiting their Madame Lana. As with the first time I saw the music video for Video Games, I fell in love with Lana Del Rey all over again. Her shimmering presence validated by her star struck audience, and her crooning voice shining as she shared her laughter, sheer coyness, and occasional sound check accompanied by a hair flip.


The lyrics Lana sang, which nearly everyone in attendance had already memorized, weren’t robbing her voice, as seen in the now viral video of her breakdown while on tour in Dublin. Everyone was crowded around the sight, the vision, the Lana Del Rey. Seemingly, every track was an anthem that we had known since we were children. We made her an icon and she felt beautiful. It felt personal and it made us happy to see her happy.

Ultraviolence is entirely different territory and will certainly grab attention because its Brett Easton Ellis plot points feel so believable, her voice often fragile, especially on “Pretty When You Cry,” a track in which she allows her voice to shake and loses herself. The opening track titled “Cruel World”, provides a maddening introduction to the damaged characters she portrays on the exquisitely deranged Ultraviolence, an album that invites you to voyeuristically become enchanted with the artist’s lyrics for those to examine, ridicule, or praise. With lyrics such as, “Got your bible, got your gun/And you like to party and have fun/And I like my candy and your women/I’m finally happy now that you’re gone” there’s one thing here that’s clear: this album marks the new chapter of a pop star’s life.

They say what doesn’t kill you makes you stronger. Lana Del Rey will certainly gain the respect of those who previously mistook her for a generic product, a Russian doll, or perhaps the cruel world’s theory that Lana’s “hoax career” was arranged by her wealthy father. Lana Del Rey’s Ultraviolence‘s tones shift from biting sarcasm (“Fucked My Way Up to the Top”) to confidence as she sings about nihilistic sex-fueled Miami nights (“Florida Kilos”). The limits of her sexually-charged persona are pushed to its acme here and feminists can say whatever they want to say. Just don’t listen to the album if you don’t want to explore the tumultuous relationships she’s experienced. It will make people feel uncomfortable and its revealing nature should make some feel uncomfortable. Why should feminism even be brought to this conversation? This is art. She’s simply expressing herself through the power of music and it’s working. Art imitates life, right? Maybe the joke’s on you, or maybe we just forgot that lyrics are more expressive than flashing cash in Porsches, or another pre- programmed boy band where authenticity feels less than zero. I regard this complex album as a transgressive tour-de-force of the modern day pop star, the younger generation faced with exulted reality TV stars, gun culture, city dreams, and drug-fueled nights. Lana sings, “They judge me like a picture book/By the colors, like they forgot to read” on the track titled “Brooklyn Baby”.


The emptiness and vapidity of such a superficial world, reflective of our own, that Lana has portrayed in her music is certainly a crafty and very performative concept to tackle, integrating into her image through a well-curated presence infiltrated with snapshots of old Hollywood and celebrities, icons, typically the tragic ones. It’s the drama audiences live for, isn’t it? It’s also not just this generation she’s part of that’s confusing, dark, and disturbing it’s the country she lives in; America’s ideals and dreams are forever challenged by our Miss Lana Del Rey, as money becomes power and the rich become richer, while the poor become poorer. She should be proud of herself, for this beautifully produced album (produced by the talented Black Keys’ Dan Auerbach) achingly calls our attention to the time we live in. I cheer for Lana Del Rey and believe her music career to be exciting and refreshing, actually groundbreaking, in its daring efforts for someone who’s become mainstream yet not radio played to maintain her own creation and artistic integrity.

A lyric that seems to cross my mind now, “I’m talking about my generation/Talking about that newer nation” which continues to “If you don’t get it, then forget it/So I don’t have to fucking explain it”. Yes, Lana, I feel you, too. I felt that way as well in a toxic relationship, facing judgement and ridicule for my youth and my mistakes. I’m working on that right now, preparing my artistic journey, even when I thought I learned everything already and when he told me I wasn’t good enough. Your music is like a Marguerite Duras novel, tragic and beautiful connected with themes that recur in your work, and play cinematically in our imaginations yet endearingly so. The drama we yearn for, the beauty we want, the money and power that those that are young aspire for…You bring the mirror to us and our American culture. With Ultraviolence, there’s a milestone in American culture that remains uneasy, unstable, beautiful, schizophrenic, and seductive. Your words, melodies, and image have stayed with us and will continue to do so. You have become an icon and this time you’ll reign. Had you listened to those critics and assholes, Lana, you would have let them win. This is your time. Well done. Give me a bit of your Ultraviolence.


Lana Del Rey’s Ultraviolent Return

Mark your calendars… On June 17th we’ll have a whole new album of summer anthems; Lana Del Rey, that pop queen of old Hollywood glam, returns to us on that glorious day with 14 new tracks to uplift our souls, tantalize our ears, and bring a new era filled with cigarette smoke and the smell of American royalty. The album’s name? Ultraviolence.

In honor of Ultraviolence we’ve put together some images of Lana that are destined to become your new computer background images (so you can get a glimpse of Lana at any and all times.)

[promoslider height=”650″  slider=”top-10-lana-del-rey-computer-backgrounds”]​

How To Cry In The Rain? This Playlist.

Nothing lasts forever. Yesterday mother nature was looking full-on gorge in NYC as noted by annoying Instagrams (At the pier! The park! The Highline! #IcedCoffeeWeather! Shut up!). Yesterday was also very important because of — NOT the moon deciding to bleed or whatever — but the music universe being blessed with new Lana Del Rey and Robyn tracks. *Faints* Anyway, I’m obsessed with rainy days as long as the wind isn’t fucking around and attacking my eyeballs/umbrella. It’s behaving today, which means I got to throw on my (p)leather hooded jacket. But most of all, I’m obsessed with chain-smoking-friendly rainy day music. What can I say? I’m a closeted emo. So, go on and embrace your emo with my teardrops-friendly playlist. THE INDIE DIVA EDITION. Dance in the rain! Disguise your tears as rain drops!

Wanna scream at the clouds today? You need a belting rock diva. Which brings me to the seriously underrated artist known as Lissie who possesses my favorite kind of goosebump-inducing pipes. She makes your soul come out of hibernation, your goosebumps dance, your heart palpitate, etc etc. In other words, listen to Lissie’s killer cover of “Mother” by Danzig. This one’s a MUST. (Also, buy her album ‘Back To Forever,’ especially if you heart Stevie Nicks because she’s basically her daughter or something.)

Another criminally underrated artist is EMA, whose brand new album ‘The Future’s Void’ will crush/invigorate your soul and I predict will 100% be top 10 on ‘Best of 2014’ lists. (Pitchfork lives for her.) She’s the real deal in a sea of It Girls who throw on a flannel and sometimes pick up a microphone for fun. Thank you for making me feel thangs and giving zero fucks, EMA.

Chairlift should be the biggest thing on the indie pop planet. Frontwoman Caroline Polacheck is perfection, her angelic and also haunting pipes are untouchable/unfuckwithable. Especially on her my-life-is-over ballad, “Cool as a Fire,” and especially when it’s flawlessly sung live/directed by Blackbook’s very own, Jacob Brown.

Apologies in advance but I can’t get enough of my favorite depressed diva, Lana Del Rey. Today I’m attempting to take a break from playing her new immaculate jam “West Coast” on repeat, so I switched it up with her recently leaked track, “Black Beauty.” The song overwhelms me too much to try to describe it. You the fuckin’ best, LDR.

No caption necessary here. Have a totally not depressed day y’all! <3

Lana Del Rey, My Jessica Rabbit 2.0

A big fucking deal happened to me yesterday morning: I woke up two hours BEFORE my alarm went off. I typically set 5-8 alarms and manage to sleep through all of them, so, yeah, like I said, a big fucking deal happened. In other words, thank you so much, Lana Del Rey. As you should know, the perpetually terribly sad siren’s insanely buzzed-about jam,“West Coast,” hit the web in the early hours, and nothing was the same, specifically my mind, which is now forever lost. I woke inexplicably at the foot of my bed and let out a yawn followed by a gay squeal before crawling to my window and onto the fire escape (did you like my pajamas aka floral swim trunks, construction workers?) to listen to the song whilst, of course, lighting a cigarette — because it’s what LDR would’ve wanted. On that note, don’t even get me started on those iconic promo billboards for her forthcoming LP, ‘Ultra Violence,’ featuring a flaw-free LDR dramatically biting on a cig. AKA you can find me taking a selfie later tonight in front of the billboard that y’all can apparently find off of the Morgan stop L train — perhaps at dusk complete with a cig pout whilst wrapping myself in a tattered American flag, because that’s what LDR would want too, right? I can’t wait.

Anyway. The song is all kinds of immaculate. I could talk for hours about her pipe’s major versatility. Like, how there’s moments where she’s all Jessica Rabbit 2.0 and then suddenly it’s like she sprinkled Xanax crumbs all up on her Coney Island icecream cone and decided to record a song. I’m so fucking obsessed. I’m probably on listen # 54 or so at the moment, and it’d be way more but I think it’s rude to not remove your earbuds when ordering coffee. The impressive thing is a new FEELING emerges with each listen! I don’t know what to do with myself! I’m so confused! My therapist is all about documenting these things called “feelings” but I lost my journal and I don’t like using iPhone “notes” because it’s not aesthetically pleasing. So, here you go therapist: my feelings (so far) via LDR GIFs.

The sassy drum intro got me feeling like

Verse #1, basically

“You got the music in you, don’t you?” (Yep. Ask Lindsay.)

And I’m suddenly so sad. (CHORUS.)

But then euphoric verse #2 got me like

In addition to

But then suddenly it’s becoming too much.

Have I lost my way?

It’s just that…

I’m unraveling.

I’m drowning in sad emojis.

I’m a fucking MESS.

I dare you to interrupt me. *Presses play again*

Here’s More of Lana Del Rey’s Pouty Campaign for H&M

All the images for Lana Del Rey’s H&M fall campaign have officially arrived and, as expected, they’re super retro and pouty. The LA noir-inspired shots lensed by the legendary Inez and Vinoodh feature the 26-year-old raspy singer in a contemplative state as she poses in the Swedish retailer’s pretty seasonal threads, donning a dramatic cat-eye and nude lips.


They must have tamed LDR’s beehive a bit to make it more noir. Interesting drop earrings — is that an upside heart? Also, she has really long nails.


I dig these printed pants and that peplum top. Fun fact: Kate Upton recently tried the ’60s teased pigtail thing too, which didn’t work out as well.


Could it be? A smile! See more images here and watch LDR’s "National Anthem" video for H&M featuring A$AP Rocky here