Everything here sounds more convincing, primarily because Lana’s voice is suddenly richer and more acrobatic, going from smoky to silky, sad to snotty, all without resorting to the schizoid vocal gimmickry of her debut. Those who think this girl can’t sing will reconsider after hearing the swooning falsetto run that comes out of nowhere on “Cola,” or the graceful yet damaged chirp of “Yayo.”
In other welcome news, the lyrics this time (save for “American”) are not nearly as ripe for face-palming — partly because many of them are batshit insane. Lana quotes Walt Whitman on “Body Electric” minutes after uttering “My pussy tastes like Pepsi cola/ My eyes are wide like cherry pie” on “Cola,” which is definitely absurd and probably brilliant. On paper, parts of “Gods And Monsters” could be a trashy outtake from Rihanna‘s “S&M”: “I was an angel / Looking to get fucked hard…Fuck yeah, give it to me / This is heaven, what I truly want.” But the lines are delivered with such sultry numbness that it could be some grand statement on sex and detachment, whether or not that was Lana’s intention.
Thankfully, the sexualization on Paradise comes without Born‘s troublesome infantilization. On “Burning Desire,” “Ride” and elsewhere, Lana is no longer willing to let you play your video games, she’s the active agent. When she does go into submissive mode, crooning “Let me put on a show for you, daddy” on “Yayo,” it’s too damn haunting to be erotic.
With Lana’s voice taking the spotlight and carrying such emotional heft, the production was dialed back. Canned strings, rising fuzz squalls and that ubiquitous “ShYAH” sample were slathered on so thick that Born To Die‘s fifteen tracks all blurred into one syrupy groan. Here, the empty spaces are as important as the cascading strings and the most restrained moments are vastly more powerful than the most blown-out moments from Born To Die. The melancholy waltz of “Bel Air,” for instance, has a forest nymph chant for a chorus, and it’s quite possible that the EP’s most fun song is the weepy “Blue Velvet,” due to its unabashed commitment to stillness. Even when Lana goes big here, like on the Rick Rubin-produced opener “Ride,” it has all the grandeur that she aimed for on “National Anthem” without the grating affectations and manufactured swagger.
The new material surely isn’t perfect — “Burning Desire” ventures dangerously close to her “drunken Real Housewife” vocal tic, and she still pummels the listener with damaged Americana reference points — but Paradise is a major step forward for Lana Del Rey. By ditching the sonic fads (you won’t be missed, sad white girl rapping), shoring up her vocals, and skipping over her more bombastic unreleased songs (“Serial Killer,” “Paradise”), Lana has made a cohesive, moving record. The irony, of course, is that now that she has delivered on the hype…people might actually stop talking about her.
The Best Song Wasn’t The Single: “Yayo,” in all its woozy burlesque glory, has been transformed into the most interesting song Lana has ever done. The lyrics are largely indecipherable, but it still drips with sadness; it sounds the way watching Anna Nicole Smith circle the drain felt.
Pops Like: Fiona Apple meets Chris Isaak crossed with Marilyn Monroe singing “Happy Birthday,” as Kanye West‘s production scraps flit around in the background.
Best Listened To: While wearing formal cocktail attire that has become slightly rumpled following some sort of intense argument and/or sexual dalliance.
Full Disclosure: I flat-out DID NOT ENJOY Born To Die, but after hearing Paradise, I may be the world’s newest Lanatic.
Idolator Rating: 4.5/5
— Carl Williott
What do you think of Paradise? Let us know in the comments, or on Facebook and Twitter.
nice review but please don’t use ‘lanatic’. that’s tacky.
I miss when fans were just called fans and not Lovatics or Monsters or Beliebers.
If you’re under the age of 12 I think that’s OK otherwise it just makes you look really sad.
“Fiona Apple meets Chris Isaak crossed with Marilyn Monroe singing “Happy Birthday,” as Kanye West‘s production scraps flit around in the background.”
Holy. Toledo. You just made the reasons behind my 18-month Lana obsession painfully clear.
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After becoming one of the best selling albums of 2012 even getting to No 2 on the Hot 100 I feel The Americans just don’t appreciate this girls talent. She is Huge here in the UK and Europe and I look forward to seeing her Live in London for sold out show in May!
We love you Lana! X
Doesn’t matter how well this is received or sells in the next few days, the fact that she is still making music, staying true to her craft is already saying a lot about Lana as an artist… Haters need to stfu and just enjoy the ride!
I flat-out loved her since she released her first song and I like her even more now with the new batch of songs, which are all great. Too bad the reviewer had to wait a whole year to understand how great Lana is. And yes, Lanatic is a nice try but it fails pathetically.
Horses for courses I suppose.
For me, BTD (the original release) is the album of 2012; sumptious, moving, perfect, filled with dark & light, lyrically fascinating, musically stunning, and when listened to properly, isn’t as repititive as it appears upon first listen. It’s like a ‘journey’ (hate that term – but it is), and the deluxe version was essential.
Now with the amazing ‘Paradise Edition’ (which includes the deluxe version on cd1), she has created a masterpiece!! The new tracks are sexier, dirtier and in the most part, perfect.
Whats even more amazing is that since BTD was released, about 60 unreleased songs have leaked, most of which are great (some pretty bloody fantastic), but would not be appropriate for this release aurally, but are worth seeking out.
Interestingly, Yayo (my least fave of the new tracks unfortunately) now appears on all 3 of her studio albums in reworked versions.
3.2 /5
A bit disappointed Paradise was released also as a entire new album. I would not listen to Paradise or Born to Die albums separately as the stories/tunes of the songs intertwine between the albums- without one another the music is unpolished. An unfinished masterpeice. Sooo I’m stoked Paradise was released also within the Born To Die album (delux)!
I get what your saying, but idk.
10/10
FINALLY someone gives credit to YAYO… I’ve been obsessed with that song for a very long time!!!! :D
I love how it’s still as haunting as the original from her Lizzy Grant album.
Totally accurate and refreshing review. “Bel Air” and “Yayo” redeemed this EP from being an utter failure, in my opinion, the latter being the strongest, most interesting song on the album. Throw-away songs were made into singles, “Ride” could have been filler on “Born to Die” while “American” and “Cola” were just trashy, unoriginal, and boring.
I think if you look at the music she was making before the release of born to die (including video games) and the music she makes now it makes me think some producer just slightly messed up that album. Most of the songs on there are actually really good and allot of them have earlier versions that sound better but the production on that album makes them sound really dull and all the same.
I think Million dollar man, national anthem, radio, diet mountain dew and dark paradise could all have been better with more interesting production.
This new batch is allot more interesting and I love the noir style
Interesting theory. Compared to Paradise, it seems Emile Haynie had a much bigger role in shaping the sound on BTD (I believe “Video Games” was the only song he didn’t have a credit on). Food for thought…
Her music is refreshing. She is he best new artist in years. For the reviewer to even make fun of her lyrics is ridiculous. Simple is complex because not every artist can do it. I love “American” &”Blue Velvet”. Lana has such a great style.
No talenT at all! FaKe lips, fake everything!
I think the version of YaYo included on the Lizzy Grant album is much better than the one on Paradise, it’s truly haunting… Anyway, can’t wait to see her in Vienna in April!