It's not until 'The Blackest Day', eleven songs in, that Honeymoon's static depression gives way to apocalyptic ecstasy, as she gasps 'In all the wrong places/ Oh my God' in multi-tracked harmonies on the chorus. On the title track, when she croons 'Our honeymoon/ Say you want me too', she's dopily hopeful as Brian Wilson singing 'We could be married/ And then we'll be happy.' The album luxuriates in this bleak space between dream and reality, which stretches endlessly from one melancholy track to the next. The romance here is closer to addiction-something that's sought for its ability to blot out the rest of life's miseries. It's an album about love, but 'love', as Del Rey sings it, sounds like mourning. And yet, that's exactly what Honeymoon gives us-it is Lana Del Rey's purest album-length expression, and her most artistic one.Īccordingly, Honeymoon is a dark work, darker even than Ultraviolence, and the pall does not lift for its 60-plus minutes.
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As an artist, she's never shied away from the obvious, but the image feels almost too on-the-nose, too apt-Lana doing The Full Lana. On the cover of Honeymoon, we see our star, Lana Del Rey, the idle passenger of a parked convertible Hollywood tourmobile, gazing behind her through face-obscuring shades.
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