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" Blue Velvet" (a cover of the popular 1950s track) and " Burning Desire" were released as promotional singles. The EP's lead single was the ballad " Ride", which became a modest hit in the United States, Switzerland, Ireland and France and reached the top 10 in Russia. Charting across Europe, the EP became a top 10 hit in Flanders and Poland, charting within the top 20 in Wallonia and the Netherlands. 10 on the Canadian Albums Chart and peaked within the top five of various other Billboard charts. 10 on the US Billboard 200 with first-week sales of 67,000 copies. Upon its release, Paradise received generally favorable reviews from music critics. The EP's sound has been described as baroque pop and trip hop. Del Rey enlisted collaborators including producers Rick Nowels, Justin Parker and Rick Rubin. It was additionally packaged with the reissue of her second studio album, Born to Die (2012), titled Born to Die: The Paradise Edition. It was released on Novemin Australasia and Novemworldwide by Polydor & Interscope. Or as her Simone cover has it: “Please don’t let me be misunderstood.” This time, perhaps, she won’t be.Paradise is the third EP by American singer-songwriter Lana Del Rey. A more nuanced take is that Del Rey’s embodiment of all these haute trash stylings is as much a conscious art project as anything Lady Gaga might once have cooked up.
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Critics justly object that she celebrates the same played-out Stepford moll glamour that American culture has always pinned up. 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. One of Del Rey’s signature moves has been to ally torch songs to up-to-date sounds. The beats, such as they are, seem to be happening in the next rented property along the seafront. Del Rey’s voice is the star, swooping, warbling, contemplating “murder and carnage”. Honeymoon is really one long crystalline glide that lasts for 12 songs, one baffling snippet of a TS Eliot poem and one Nina Simone cover, carried along by music so cinematic and unobtrusive that sometimes it’s barely there. For the first time, Elizabeth Grant (Del Rey), veteran co-writer and co-producer Rick Nowels and recently promoted co-conspirator Kieron Menzies have created a comprehensively retro iteration of the Del Rey myth, delicately informed by jazz as much as R&B and hip-hop. It is, perhaps, a little hard to spot the hits that will take on, say, Taylor Swift, but Honeymoon is arguably the most Lana Del Rey album Del Rey has yet produced.
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Music to Watch Boys To: ‘brilliant, gimlet-eyed’. On the Bond-theme manqué that is 24, there are “only 24 hours in a day/And half as many ways for you to lie to me, my little love”. No matter how architect-designed the beach house, paradise remains riddled with serpents. Now, though, she’s also listening to Billie Holiday, Lay Lady Lay, and quoting David Bowie (on The Blackest Day, Religion and Terrence Loves You respectively). She is complicit in her own objectification – “I like you a lot,” runs the brilliant, gimlet-eyed Music to Watch Boys to, “So I do what you want” – but just as often, a hopeless romantic. On songs like The Blackest Day, Del Rey’s protagonist is still “looking for love in all the wrong places”. So adept has Del Rey been at exploring the internal worlds of numbed female characters posing as arm candy, it seemed that her master narrative – beautiful women, bad scenes – could only ever be wrung dry. A fter two-and-a-half-studio albums of beauty queen perdition and nihilist luxe – 2014’s Ultraviolence, 2012’s debut Born to Die and its half-sibling, The Paradise Edition – you wouldn’t have thought there would be any road left for Lana Del Rey to coast down, her long hair casually whipping the cheek of some stony-faced sugar daddy.