On her previous album, the fantastic Ultraviolence, producer Dan Auerbach of the Black Keys disrupted her songs with spikes of tremolo guitar.
Del Rey, who has a death fixation (“I’m scared to die, but I want to die,” she told a reporter last year), understands this. “Not you or anybody else.” In noir, the femme fatale’s death is inevitable, because there’s no way for her to survive an unfair world. “I never loved you, Walter,” Barbara Stanwyck mutters in the climactic scene of Double Indemnity, moments before Walter murders her. This cold-hearted equanimity is the mark of a femme fatale. When her lover, to whom she’s pretended to submit, heads for the door, her pulse never even goes up: “I push record and watch you leave.” A honeymoon is wonderful, but it’s also brief. Then the switch: “I know what only the girls know/Lies can buy eternity,” she declares, docile as a panther, exposing her cold heart. Her voice is wrapped in gauze she sounds stunned, almost concussed, amid the soft, slow, frosty music - chiefly strings and woodwinds - which, on her Instagram, she likened to exotica composer Les Baxter’s early-‘60s work. “I like you a lot, so I do what you want,” she sings at the opening of “Music To Watch Boys To,” the second song on Honeymoon, and one of the highlights. Since her major-label debut with the single “Video Games” in 2011 and the album Born to Die the following year, Del Rey has incited reviews that feel more like assassination attempts much of the criticism denounces her for the submissive role she takes in songs, even in the pliant way she calls her ex “baby” in Hollywood’s “Terrence Loves You.” But as any noir fan knows, that’s merely the bait. Lana Del Rey Posts ‘Honeymoon’ Track List
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