| |
Celeb News: Lana Del Rey - West Coast | The reviews
Member Since: 6/10/2011
Posts: 12,511
|
Lana Del Rey - West Coast | The reviews
http://www.muumuse.com/2014/04/lana-...e-review.html/
Quote:
“West Coast” sounds entirely different from anything that’s being offered in pop music at the moment — it’s revolutionary, really.
|
More reviews to be posted
Slant
Quote:
Lizzie Grant needs a vacation. The singer-songwriter has produced a steady stream of new material since she premiered her pop chanteuse alter ego, Lana Del Rey, on YouTube way back in 2011. Before her 2012 album Born to Die even had a chance to cool, she'd already dropped a companion EP (Paradise), a string of soundtrack cuts ("Once Upon a Dream" from the upcoming Disney flick Maleficient being the most recent), and a short film (Tropico). Last week, "Meet Me in the Pale Moonlight," a surprisingly discofied cut, leaked onto the Internet, and while Del Rey dismissed it as an old song written for another artist, the blogosphere's ravenous response points to an audience that isn't just eagerly anticipating the singer's new single, but expecting the unexpected.
Well, she hasn't gone EDM, and she isn't dabbling in dubstep, as some cheeky fan rumors suggested, but "West Coast," the lead single from Del Rey's sophomore effort, Ultraviolence, is indeed a departure. Aside from a brief reference to a Parliament cigarette on fire, the sun-kissed cover art is a stark contrast to the edgy billboards for the album that popped up in New York and California last week, and the song, produced by the Black Keys' Dan Auerbach, is likewise warmer and rootsier than Del Rey's previous, more baroque-pop confections. Auerbach dots the bluesy "West Coast" with spaghetti-western guitar flourishes and deft shifts in time signature, mirroring the singer's internal tug of war. The moody track finds Del Rey, who delivers her lyrics in a series of staccato coos, leaving her man to find fame and fortune in the City of Angels, but of course, she fails spectacularly and exquisitely, torn between love and the "silver starlight" of Hollywood.
|
Billboard
Quote:
Hours after debuting her next single, "West Coast," for an enormous assembly of fans at Coachella, baroque pop star Lana Del Rey dropped the studio version of the new and surprisingly breezy, guitar-driven track early on Monday.
While less overtly moody than her previous work, "West Coast" sounds decidedly like Del Rey -- airy vocals drenched in reverb and other effects plus a chorus/breakdown that shows off her vulnerability. The tight, almost bluesy guitar riffs and reggae drum fills give the mid-tempo ballad a bouncy feel. "Down on the west coast, they love their movies // Their golden cars and rock-n-roll groupies // And you got the music, you got the music in you, don't you?"
|
|
|
|
|
Member Since: 3/15/2013
Posts: 25,228
|
It really is different compared to anything right now and I could see it being embraced by the public. Perfect classic summer sound.
|
|
|
|
Member Since: 8/31/2013
Posts: 12,948
|
Perched 
|
|
|
|
Member Since: 10/26/2009
Posts: 2,271
|
Never heard of Muumuse ever!
Edit:  at the "Legendtina" sestion.I think I wait for Pitchfork, Rolling stones or Slant...
|
|
|
|
Banned
Member Since: 8/19/2013
Posts: 8,254
|
Quote:
Originally posted by Lamb4life
Never heard of Muumuse ever!
Edit: at the "Legendtina" sestion.I think I wait for Pitchfork, Rolling stones or Slant... |
their reviews are added to Metacritics
|
|
|
|
Member Since: 8/18/2013
Posts: 15,244
|
amazing reviews
|
|
|
|
Member Since: 6/10/2011
Posts: 12,511
|
Anyone got more reviews to post, I'll add it in the OP.
|
|
|
|
Member Since: 8/19/2013
Posts: 3,392
|
Perfect, the reviewers are acknowledging good music.
|
|
|
|
Member Since: 3/18/2008
Posts: 40,057
|
Quote:
Slant
Lizzie Grant needs a vacation. The singer-songwriter has produced a steady stream of new material since she premiered her pop chanteuse alter ego, Lana Del Rey, on YouTube way back in 2011. Before her 2012 album Born to Die even had a chance to cool, she'd already dropped a companion EP (Paradise), a string of soundtrack cuts ("Once Upon a Dream" from the upcoming Disney flick Maleficient being the most recent), and a short film (Tropico). Last week, "Meet Me in the Pale Moonlight," a surprisingly discofied cut, leaked onto the Internet, and while Del Rey dismissed it as an old song written for another artist, the blogosphere's ravenous response points to an audience that isn't just eagerly anticipating the singer's new single, but expecting the unexpected.
Well, she hasn't gone EDM, and she isn't dabbling in dubstep, as some cheeky fan rumors suggested, but "West Coast," the lead single from Del Rey's sophomore effort, Ultraviolence, is indeed a departure. Aside from a brief reference to a Parliament cigarette on fire, the sun-kissed cover art is a stark contrast to the edgy billboards for the album that popped up in New York and California last week, and the song, produced by the Black Keys' Dan Auerbach, is likewise warmer and rootsier than Del Rey's previous, more baroque-pop confections. Auerbach dots the bluesy "West Coast" with spaghetti-western guitar flourishes and deft shifts in time signature, mirroring the singer's internal tug of war. The moody track finds Del Rey, who delivers her lyrics in a series of staccato coos, leaving her man to find fame and fortune in the City of Angels, but of course, she fails spectacularly and exquisitely, torn between love and the "silver starlight" of Hollywood.
|
Quote:
Billboard
Hours after debuting her next single, "West Coast," for an enormous assembly of fans at Coachella, baroque pop star Lana Del Rey dropped the studio version of the new and surprisingly breezy, guitar-driven track early on Monday.
While less overtly moody than her previous work, "West Coast" sounds decidedly like Del Rey -- airy vocals drenched in reverb and other effects plus a chorus/breakdown that shows off her vulnerability. The tight, almost bluesy guitar riffs and reggae drum fills give the mid-tempo ballad a bouncy feel. "Down on the west coast, they love their movies // Their golden cars and rock-n-roll groupies // And you got the music, you got the music in you, don't you?"
|
...
|
|
|
|
Member Since: 3/14/2013
Posts: 30,547
|
And the critical acclaim is here
|
|
|
|
Member Since: 4/28/2012
Posts: 6,273
|
|
|
|
|
Member Since: 3/18/2008
Posts: 40,057
|
Quote:
The Guardian
Premiered during her Coachella performance this weekend, Lana Del Rey has officially unveiled West Coast, the first single proper from her forthcoming album.
Recorded in Nashville and produced by Dan Auerbach from The Black Keys, the track was written by the singer and master in pop theatricality Rick Nowels (he's penned previous tracks for Lana, as well as Stevie Nicks, Dido, Lykke Li and Belinda Carlisle). Side-stepping slowly from the Twin Peaks melodrama of Born To Die, the track oozes with the sultry sounds and textures of 80s drive time, based around a solitary guitar and anxiously breathy vocals.
Whether or not this track is indicative of her full album is yet to be known, but she has described Ultraviolence as an record that is "so wrong and exquisite. It is absolutely gorgeous - darker than the first.”
|
Quote:
Spin
Hear Lana Del Rey's Smoldering 'West Coast'
Lana Del Rey performed a new song, "West Coast," over the weekend at Coachella, and now the track is streaming online (below). Where a previous track to emerge, "Meet Me in the Pale Moonlight," carried splashes of slow-mo disco, this one is consummately LDR: an atmospheric, swaying appropriation of Americana tropes. "Ooh baby, ooh baby, I'm in love," Del Rey purrs between images from a sort of Madison Avenue Manifest Destiny — silver starlets, lit Parliaments, rock'n'roll — all set to an endless looped video of a walk on the beach.
|
...
|
|
|
|
Member Since: 10/12/2010
Posts: 9,881
|
Getting such good reviews already ! 
|
|
|
|
Member Since: 4/5/2014
Posts: 264
|
|
|
|
|
Member Since: 6/10/2011
Posts: 12,511
|
The praise 
|
|
|
|
Member Since: 11/23/2011
Posts: 4,888
|
SLAY!
|
|
|
|
Member Since: 3/18/2008
Posts: 40,057
|
Quote:
Consequence of Sound
As previously reported, Lana Del Rey has enlisted the services of The Black Keys’ Dan Auerbach to produce her new album, Ultraviolence. Today, we get out first taste of their collaboration in the form of “West Coast”, a sultry, atmospheric track that combines elements of 80s-inspired pop with the bluesy grit of The Black Keys.
|
Quote:
Idolator
Lana Del Rey‘s “West Coast” premiered this morning (April 14) with a black-and-white video loop. The first taste of Ultraviolence comes after the singer performed it live for the first time last night at Coachella. As with her prior material, she’s singing about love and vices and having the music in you, and as with much of her other work, the new song is atmospheric — but in a different way.
For much of the track, there’s nothing elegant or glamorous about it; instead, it’s brooding and spare. The verses are smoky, with mumbled vocals, before a tempo change hits for a swaying, breathy chorus accompanied by a Spaghetti Western guitar riff. It’s in the refrain where Lana’s voice does the heavy lifting as she sings “Oh baby, I’m in love” over a cloud of her own ghostly chants, and where an orchestral arrangement might’ve been used to add a sense of grandeur before, here we get a completely unexpected, squealing Moog line to close things out.
|
Quote:
Bustle
We’d hoped for Lana Del Rey’s new single to do something new and inventive for the singer and in a lot of ways we got what we wanted. “West Coast” sounded like a surf rock song would sound if it was written by Lana Del Rey. Del Rey premiered the song at Coachella over the weekend and then the single in full debuted on BBC Radio 1 radio this morning. “West Coast” features Del Rey’s slow and sultry vocals over a melody that’s part pop, part surf rock, and part reggae at points, such as in the dynamic drum roll into the otherwise lilting song.
“Down in on the West Coast, they got a saying,” Del Rey’s voice reverberates as she sings the lyric she plastered on a billboard to promote the song. “If you’re not drinking then you’re not playing.”
“West Coast” quite honestly sounds like it’s three different songs at the same time. Each verse is minimalistic, which just makes Del Rey’s voice stick with you longer, and then it slows down for the bridge, as much as any Lana Del Rey song can get slower, before finishing with a chorus that’s more or less pop fare. The song perfectly captures the spirit of getting drunk at a late night beach party and making some bad decisions.
It’s a very far cry from Katy Perry’s California-themed anthem about how “nothing comes close to the golden coast”. Del Rey’s coast is a lot less golden and a lot more dangerous, inviting, practically stuffed with hidden promises. She has a way of singing a song that’s like a finger beckoning you forward into an adventure you might regret but will always remember and that’s the spirit she brought to “West Coast”. It’s new enough to almost be considered a new sound, but similar enough to the rest of her work that you can tell immediately who you’re listening to. If the rest of her album is anything like this, we’re in for a treat.
|
.
|
|
|
|
Member Since: 10/4/2010
Posts: 11,561
|
|
|
|
|
Member Since: 4/4/2014
Posts: 13,402
|
Quote:
At its core, "West Coast" retains everything that makes a song a signature Del Rey tune. Her hushed whispering voice floats around the music, particularly in the dreamily ethereal chorus, which boasts layers upon layers of tracking. It's almost as if there is a full-blown choir of Lana Del Reys.
There's something inherently sexual about the way she croons during this part of the song. She sings "I'm singing ooh baby, ooh baby, I'm in love," and it's so heavy yet slow that it feels like you're in a really intimate moment.
This carries throughout the whole song, and there's a reason why fans (and some critics) praise Del Rey for her throwback, nearly angelic vibes. She manages to sing in a way that is wholly unique on "West Coast." There's a near whine to her voice, but she's able to pull it back and make it breathless and smoky, creating a snarky, sexual aesthetic.
Musically, it's clear that Del Rey has been collaborating with The Black Keys' Dan Auerbach on Ultraviolence. The very first beat, a roll of the drums that dives straight into some vintage guitar sounds, is so insanely similar to the sounds on The Black Keys' debut effort The Big Come Up that it made me do a double take to make sure I was listening to the right thing.
Their musical influences jive together really well. Auerbach brings some of the funking grooves of the '60s to counterbalance Del Rey's own old school influences to make for something that sounds like it's rooted in the olden days of female blues and pop but manages to brings itself into the modern era through the strong use of drum machines.
While "West Coast" sets a really strong precedent for Del Rey's new album, the mixing is just a little bit off in the production. While Del Rey's whole thing is somewhat rooted in the wall of noise, she can also get lost in the music sometimes, and it's hard to distinguish the lyrics of "West Coast" from anything else. But, Del Rey has never been known for ability to enunciate.
Count this one as a win for the California crowd.
|
http://www.musictimes.com/articles/5...-oozes-dan.htm
Quote:
|
Mix some "Edge of Seventeen" ("Ooh baby, ooh baby) with an outtake from a Quentin Tarantino movie soundtrack, layer a signature lyrical style over that ("Their golden cars and rock-n-roll groupies"), and you've got Lana Del Rey's new single, "West Coast." Lana Del Rey's second album Ultraviolence is as long-awaited as spring this year, so it's good to know she's not veering too far away from that "Summertime Sadness." *cues up remix*
|
http://www.vulture.com/2014/04/hear-...est-coast.html
|
|
|
|
Member Since: 8/17/2013
Posts: 16,461
|
|
|
|
|
|
|
