The Paradise Edition added a second CD for a total of 23 tracks. Even after selling nearly three million copies of her debut album worldwide, Lana Del Rey still faced a challenge during 2012: namely, proving to critics and fans that Born to Die wasn't a fluke. In that spirit, she released Paradise, a mini-album close to Christmas, one that finds her copying nearly wholesale the look and feel of her vampish Born to Die personality. The sound is also very familiar. Strings move at a glacial pace, drums crash like waves in slow motion, and most of the additional textures in these songs (usually electric guitar or piano) are cinematic in their sound and references. Del Rey is in perfect control of her voice, much more assured than she was even one year ago, and frequently capable of astonishing her listeners with a very convincing act, even while playing nearly the same character in each song.

Lana Del Rey could have retired after the cinematic grandeur of her 2019 high-water mark Norman Fucking Rockwell! That album's imaginative songwriting, finely crafted performances, and exceptional production served as a realization of the magnificence promised by earlier efforts, and the deepest look yet at Del Rey's stormy inner world. Subsequent albums suggested a little bit of a comedown after such heights. Both released in 2021, Chemtrails Over the Country Club felt like an NFR! bonus reel, while Blue Banisters played like a mixtape of solid but random song ideas. Ninth album Did you know that there's a tunnel under Ocean Blvd finds Del Rey returning to the powerful level of song sculpting she reached on NFR!, and feels like a strong step forward as much as it does a worthy follow-up to her best record.

The maelstrom of hype surrounding self-modeled Hollywood pop star Lana Del Rey's 2012 breakthrough album, Born to Die, found critics, listeners, and pop culture aficionados divided about her detached, hyper-stylized approach to every aspect of her music and public persona. What managed to get overlooked by many was that Born to Die made such a polarizing impression because it actually offered something that didn't sound like anything else. Del Rey's sultry, overstated orchestral pop recast her as some sort of vaguely imagined chanteuse for a generation raised on Adderall and the Internet, with heavy doses of Twin Peaks atmosphere adding a creepy sheen to intentionally vapid (and undeniably catchy) radio hits. Follow-up album Ultraviolence shifts gears considerably, building a thick, slow-moving atmosphere with its languid songs and opulent arrangements…

Call Honeymoon the third installment in a trilogy if you will but there's no indication Lana Del Rey will put her doomed diva persona to rest after this album. Over the course of three albums, Lana Del Rey hasn't so much expanded her delicately sculpted persona as she has refined it, removing anything extraneous to her exquisite ennui. Honeymoon doesn't drift or float, it marks time, sometimes swelling with a suggestion of impending melodrama but often deflating to just an innervated pulse. Apart from the syncopated chorus on "High on the Beach," any lingering element of the hip-hop affectations of Born to Die have been banished and so have the shade and light Dan Auerbach brought to Ultraviolence, a record that feels cinematic in comparison to Honeymoon…

Did you know that there's a tunnel under Ocean Blvd is the ninth studio album from acclaimed singer-songwriter Lana Del Rey, comprising 16 tracks and interludes with features including Father John Misty, Tommy Genesis, Jon Batiste, Bleachers and more. It follows the prolific artist's 2021 albums Chemtrails Over The Country Club and Blue Banisters.

Elizabeth Woolridge Grant (born June 21, 1985), known professionally as Lana Del Rey, is an American singer and songwriter. Her music has been noted by critics for its stylized cinematic quality, its preoccupation with themes of tragic romance, glamour, and melancholia, and its references to pop culture, particularly 1950s and 1960s Americana…

If Lana Del Rey's 2021 album Chemtrails Over the Country Club felt like the atmospheric post-script to her 2019 master statement Norman Fucking Rockwell!, Blue Banisters comes off like the addendum to the post-script. Released just seventh months after its predecessor, Blue Banisters isn't too far removed from the midtempo, woozy tones that defined that album. The 15 tracks here span about an hour running time, and generally stick to the familiar framework of sad-hearted torch songs for a burning world that Lana has built her entire discography on. Closely inspecting the songwriting, production, performance, and sequencing choice on Blue Banisters, however, reveals some moments of quiet evolution.

Where Lana Del Rey’s previous 2021 album Chemtrails Over the Country Club made no reference to the global pandemic in which it was partly created, Blue Banisters is steeped in it. From bringing up Black Lives Matter protests in “Text Book” to facing the loneliness of isolation during quarantine in “Black Bathing Suit,” there’s no shortage of references to the year that kept us all inside. “And if this is the end, I want a boyfriend/Someone to eat ice cream with and watch television,” she sings. When not singing about girls in summer dresses dancing with their masks off, Lana ruminates on her family. She mentions her sister Chuck in the title track and regales with tales about her parents in “Wildflower Wildfire.”

Lana Del Rey knows perfectly well her Lust for Life sounds sleepy in comparison to Iggy Pop's full-blooded roar, but that doesn't mean the title of her fourth album is ironic. Compared to her previous albums, especially its somnolent 2015 predecessor, Honeymoon, Lust for Life is positively ebullient in tone, if not in tempo. Lana Del Rey may sing about a "Summer Bummer" but the song isn't in sway to a narcotic undertow; it simmers, offering a cool bit of seduction for muggy August nights. LDR retains this delicate balance throughout the lengthy Lust for Life (at 71 minutes, this is an album as playlist, designed to be looped over and over as mood music), never quite succumbing to either despair or ecstasy but rather finding a place where there's no separation between the two emotions.

With the creation of her Lana Del Rey persona, singer/songwriter Lizzy Grant stitched together the iconography of a fading American dream with soaring but melancholic pop songwriting, becoming an icon unto herself in the process. Her distinctive approach blurred sadness and longing just as it did past and present, drawing on the influence of classic American pop while integrating modernized touches like trap beats and millennial cultural references. With sixth album Norman Fucking Rockwell!, Lana Del Rey expands her vision with the most daring and vulnerable work of her catalog. One of the first noticeable shifts is how subtle the album's sound is.

Following the success of her 2019 Grammy®-nominated album Norman Fucking Rockwell, Lana releases her highly anticipated seventh studio album Chemtrails Over The Country Club.

Violet Bent Backwards over the Grass is the debut book by American singer and songwriter Lana Del Rey. A poetry collection featuring over thirty original poems and photography, including "13 longer poems" and several short pieces, the collection will be Del Rey's first published work and will be released by Simon & Schuster on September 24, 2020. "Violet Bent Backwards Over the Grass is the title poem of the book and the first poem I wrote of many. Some of which came to me in their entirety, which I dictated and then typed out, and some that I worked laboriously picking apart each word to make the perfect poem. They are eclectic and honest and not trying to be anything other than what they are and for that reason I’m proud of them, especially because the spirit in which they were written was very authentic."