Ultraviolence(album) Lana Del Rey Wikipedia 

2013–14; Easy Eye Sound (Nashville, Tennessee); The Bridge (Glendale, California); Electric Lady Studios (New York City); Echo Studio (Los Angeles, California); The Church Studios (London, United Kingdom); The Green Building (Santa Monica, California)

Ultraviolence is the third studio album by American singer-songwriter Lana Del Rey, released on June 13, 2014 by Interscope and Polydor Records. Despite originally dismissing the possibility of releasing another record after her major-label debut Born to Die (2012), Del Rey began planning its follow-up in 2013. Production continued into 2014, at which time she heavily collaborated with Dan Auerbach to revamp what she initially considered to be the completed record. The project saw additional contributions from producers including Paul Epworth, Greg Kurstin, and Rick Nowels.

Ultraviolence received generally favorable reviews from contemporary music critics, who commended its cohesiveness and overall production. It debuted at number one on the U.S. Billboard 200 with first-week sales of 182,000 copies, becoming Del Rey\'s first number-one album on the chart and the best-selling debut week of her career. Ultraviolence was preceded by the digital release of four singles, "West Coast", "Shades of Cool", "Ultraviolence", and "Brooklyn Baby". Music videos were released for "West Coast" and "Shades of Cool", directed by Vincent Haycock and Jake Nava, respectively.

After the release of Born to Die in 2012, Del Rey dismissed the idea of releasing another album, because she had "already said everything [she] wanted to say." However, by February 2013, Del Rey had started work on an album saying, "It\'s a little more stripped down but still cinematic and dark. I\'ve been working on it really slowly but I love everything I\'ve done. I\'ve been writing in Santa Monica and I know what the record sounds like. Now I just have to finish it. Musically I\'ve worked with the same three guys."

She mentioned that one of the songs off the album would be called "Black Beauty".

When the demo version leaked in July, Del Rey stated "I do feel discouraged, yeah. I don\'t really know what to put on the record. But I guess I could just put them on and see what happens. Each time I write... I\'ll never write a song if I don\'t think it\'s going to be perfect for the record."

She also stated that she was writing "low-key and stripped back" songs and was working with Dan Heath, her boyfriend Barrie-James O\'Neill and that she wanted to work with Lou Reed.

In October, Del Rey said about the prospect of a new album, "When people ask me about it, I just have to be honest — I really don\'t know. I don\'t want to say, \'Yeah, definitely — the next one\'s better than this one,\' because I don\'t really hear a next one. My muse is very fickle. She only comes to me sometimes, which is annoying."

By January 2014, Del Rey and Dan Auerbach were rumoured to be working together at Auerbach\'s Easy Eye Sound recording studio in Nashville, Tennessee and he was said to be producing her upcoming album.

Del Rey and Auerbach were initially scheduled to work together for three days but ended up spending two weeks on recording a full album. On February 20, Del Rey posted a picture of herself and Auerbach on Twitter with the caption "Me and Dan Auerbach are excited to present you Ultraviolence".

About working with Del Rey, Auerbach later said "She impressed me every day. There were moments when she was fighting me. I could sense that maybe she didn\'t want to have anybody think she wasn\'t in control because I\'m sure it\'s really hard to be a woman in the music business. So we bumped heads a little bit, but at the end of the day we were dancing to the songs."

The artist stated that the album draws inspiration from the West Coast, as well as from Brooklyn, New York. In addition, it also features heavy guitars and jazz tones. Del Rey also stated that the inclusion of Auerbach was last-minute. The two had met in New York when she believed that the record was finished.

On the release of Ultraviolence, she reaffirmed her earlier reluctance to make another album, saying "I mean, I still feel that way, but with this album I felt less like I had to chronicle my journeys and more like I could just recount snippets in my recent past that felt exhilarating to me."

"Shades of Cool", was described by Consequence of Sound as "a slow and slightly gloomy ballad marked by reverberated guitars, slight atmospherics, and Del Rey\'s vocals that alternate between a hushed whisper and ephemeral wailing."

The song consists of "a chiming guitar, slow-burn bass line, and swelling orchestra" which surround Del Rey\'s vocals.

Del Rey said that she wrote "Brooklyn Baby" with Lou Reed in mind. She was supposed to work with him and flew to New York City to meet him, but he died the day she arrived.

He is referenced in the line "And my boyfriend’s in a band/ He plays guitar while I sing Lou Reed".

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"The tempo [of the song] shifts frequently, the instrumentation is jagged, and Lana’s voice skips between breathy franticness and slurred, drugged-out ecstasy."

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"West Coast" is a mid-tempo song with a pop and soft rock verse and a surf rock slow-tempo chorus.

Musically, its composition is built around reggae drum fills, blues-influenced guitar riffs, and draws influences from indie rock music.

"Sad Girl" was written about being "the other woman" in an affair. Del Rey wrote "Money Power Glory" as a reaction to her rise to fame. About writing it, she says, "I was in more of a sardonic mood. Like, if all that I was actually going to be allowed to have by the media was money, loads of money, then fuck it... What I actually wanted was something quiet and simple: a writer\'s community and respect."

"Fucked My Way Up to the Top" was written about an undisclosed female singer who, at first, mocked her for her supposedly unauthentic style, but then "stole and copied it" and became successful with it.

The title Ultraviolence was unveiled at the premiere of Lana Del Rey\'s short film Tropico on December 4, 2013, about two months before the completion of the final version of the album.

Before naming the album, she told the audience, "I really just wanted us all to be together so I could try and visually close out my chapter before [Born to Die/Paradise] I release the new record."

Journalists identified the phrase from Anthony Burgess\' dystopian novella A Clockwork Orange (1962), but reports were conflicting as to whether or not the title was stylized as one or two words.

In December 2013, during the Hollywood premiere of her short film Tropico, Del Rey announced the title of the album, but no other details.

In early February 2014, after an extensive revamp of the album with Dan Auerbach, Del Rey said it might be released on May 1; but a representative for Del Rey later said that a release date had yet to be confirmed.

On May 5, 2014, at a concert of hers in Montreal, Canada, Del Rey said Ultraviolence would be released "next month".

The track listing and album cover were unveiled on May 9, 2014.

During a radio interview on May 8, Del Rey said that the album would be released in the second week of June.

On May 14, Del Rey announced via Twitter that her album would be released June 16.

As a part of the same announcement, Del Rey revealed information about a deluxe box set version of the album made available for pre-order, stating that it would contain four 12" x 12" art prints, a deluxe CD digipak (including the bonus tracks disclosed in the official tracklisting), a deluxe two-LP picture disc set, and a special box with the album title printed in black foil.

Urban Outfitters offers an exclusive vinyl edition of the album, containing the standard version tracks on two colored vinyl records, one translucent blue, and one opaque lavender. This edition also comes with a different album artwork.

Del Rey premiered "West Coast" as part of her set at the Coachella music festival on April 13, 2014.

“West Coast” was serviced as Ultraviolence\'s lead single the next day.

Its music video was released on May 7 and directed by Vincent Haycock.

A music video was directed by Jake Nava and released on June 17.

The third single and title track, "Ultraviolence", was released on June 4 and was followed by the fourth single, "Brooklyn Baby", four days later.

Prior to the album release, Del Rey announced a North American concert tour, as well as performances at several European festivals.

Ultraviolence received positive reviews upon its release. According to Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album currently holds a score of 74/100 based on 30 reviews, indicating "generally favorable reviews".

Writing in The Guardian, Alexis Petridis wrote that "Every chorus clicks, the melodies are uniformly beautiful, and they soar and swoop, the better to demonstrate Del Rey\'s increased confidence in her voice. It\'s all so well done that the fact that the whole album proceeds at the same, somnambulant pace scarcely matters".

Kyle Anderson of Entertainment Weekly wrote about Del Rey\'s aesthetic, stating, "Kubrick would have loved Del Rey — a highly stylized vixen who romanticizes fatalism to near-pornographic levels, creating fantastically decadent moments of film-noir melodrama. It\'s an aesthetic that demands total commitment from both artist and listener, and it would be difficult to buy into if she didn\'t deliver such fully realized cinema." He also added, "Ultraviolence masterfully melds those elements, and completes the redemption narrative of a singer whose breakout-to-backlash arc on 2012\'s Born to Die made her a cautionary tale of music-industry hype." Caryn Ganz for Rolling Stone gave a positive review, commenting the album "is a melancholy crawl through doomed romance, incorrigible addictions, blown American dreams," although she also wrote " [it] wraps desire, violence and sadness into a tight bundle that Del Rey doesn\'t always seem sure how to unpack."

Tony Clayton-Lea of The Irish Times noted, "What seems certain is that whatever she really is, or whatever she does in her chosen milieu, Del Ray [sic] is the best at it."

Jim Farber of New York Daily News wrote, "Ultimately, she\'s milking classic male fantasies of the sad Marilyn Monroe, the babe in distress who can only be saved by you - and your dollars."

Critic Jamie Hamilton of DIY reviewed the album on a positive note stating, "Most songs on Ultraviolence link up with a bluesy smoke of a sound. Whereas ‘Born to Die’ flirted with gloss and glitz, this is the sound of Lana hitting the road. Producer Dan Auerbach in tow, most of the time the tempo doesn’t get any quicker than a Kolo Touré sprint." Justin Charity of Complex magazine noted, "Ultraviolence is a blues affair, with moody innuendo spilling bloody and bold as the opening sequence to a vintage Bond saga." The critic also called it \'intimate\', \'drunk driven\'.

Mike Diver for Clash Music commented, "For all its lows-inspired highs, Ultraviolence is not quite the complete picture. It goes so far as to reflect, albeit perhaps coincidentally, this era: black and white, the colour has to come from the performance, not the film it’s captured on." The critic gave a bottom line for Del Rey—"A bruised beauty, just short of classic status..."

At the The Independent the album scored 3 out of 5 and critic Hugh Montgomery felt, "Ultraviolence is more of the same, but less. There is quasi-transgressive mixture of hopeless passivity and coquettish sexuality running through songs."

On June 18, 2014, Billboard estimated that Ultraviolence would sell approximately 175-180,000 copies in first-week United States sales.

The album debuted at number-one on the Billboard 200, with sales of 182,000, making it Lana Del Rey\'s first number-one album in the United States and her best sales week yet.

Overall, Ultraviolence debuted at number one in twelve countries, including the United Kingdom, and the Top 5 of eight other countries. The albums sold 880,000 copies in its first week, worldwide.

Ultraviolence – Austrian, German, and Swiss edition (bonus track)

Ultraviolence – iTunes Store edition (bonus track)

Ultraviolence – Japanese, Spotify UK and Target edition (bonus track)

Ultraviolence – Japanese iTunes Store edition (bonus tracks)

Credits adapted from the liner notes of Ultraviolence.

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