The fruition of Honeymoon smacks of strict creative control: there was minimal press one notable interview with friend/superfan James Franco the albums public playback took place at Urban Outfitters, and the production team was confined to Del Rey herself, long-time engineer Kieron Menzies and Ultraviolence/Born to Die producer Rick Nowels. The resulting album is naturally self-indulgent, but her most sophisticated and refined yet. Her score-like songs are self-sabotagingly slow, striving for Rat-Pack romance and often succeeding.
Honeymoon is really one long crystalline glide that lasts for 12 songs, one baffling snippet of a T.S. Eliot poem and one Nina Simone cover, carried along by music so cinematic and unobtrusive that sometimes it’s barely there. Del Rey’s voice is the star, swooping, warbling, contemplating “murder and carnage”. The beats, such as they are, seem to be happening in the next rented property along the seafront. One of Del Rey’s signature moves has been to ally torch songs to up-to-date sounds. Where her skeletal trap beats exist – on Art Deco, or Del Rey’s latest celebration of California, Freak – they are mere ghosts of skeletons, marbles dropped down a glass staircase across the valley.
RIYL: FKA Twigs, Mazzy Star, PJ Harvey
2. Music To Watch Boys To
3. Terrence Loves You
4. God Knows I Tried
5. High By The Beach
7. Art Deco
8. Burnt Norton (Interlude)
11. The Blackest Day
13. Swan Song
14. Don't Let Me Be Misunderstood