Lana del rey album reviews
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Songs like Shel Silverstein’s Hills of Shiloh and Henry Gray (about a Chicago blues pianist) fit comfortably into this wonderfully diverse collection. Rare among his British contemporaries, he is comfortable with Americana. Equally he can turn his talents to tender eulogies to English nature ( Kingfisher) and make ancient, timeless folk songs ( Queen Jane and Who’s Going to Shoe Your Pretty Little Foot) so fresh and vibrant that they sound as though they were penned yesterday. A gifted interpreter, he is capable of infusing Robb Johnson’s powerful attack on greed, elitism and war-mongering, More than Enough, with sad melancholy. This remarkably complete musician (nominated for the BBC Folk Awards 31 times – more than anyone else) is a superb finger-style guitarist, who here plays five-string banjo, six-string fretless banjo, bass guitar, banjola, resonator, acoustic and slide guitar. It's now widely accepted that Martin Simpson is England’s finest living male folk singer – especially when his recordings are, as here, enriched by Andy Cutting (melodeon, diatonic accordion) and Nancy Kerr (fiddle, viola). Fans will have to make do with what she promises is The Next Best American Record. While her barbed tweets at the President had some hoping for a protest album, Del Rey forgoes a political record in favour of one that celebrates being American. Amid stripped-down lullabies ( F- I love you), twisted fantasies ( Bartender) and Brit-pop inspired jaunts ( Love Song), Del Rey expertly dips in and out of the past, somehow creating something new every time. Recruiting pop producer Jack Antonoff and songwriter Rick Rubin ( Doin’ Time) for her sixth studio record, Del Rey immerses herself in a Californian dreamscape tempered by painter Norman Rockwell’s own commentary on US culture. “God damn, man child,” is the album’s opening line, sung with sheer irreverence over soaring strings and brass.
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She is both an effervescent "emoter" and a satiric actress, often at the same time. Nonetheless her dedication to an aesthetic seeps into the music, creating fully realised soundscapes that meld nostalgia, romance and vignettes of old Hollywood. For Lana Del Rey music has become secondary to the theatrical stylings that have garnered her a cult following.