Born To Die [Deluxe Edition, Extra tracks]

Firstly, I want to address the inadequate online loudmouths who seem determined to drive this young woman to a breakdown with the amount of bile they've been spewing in recent months: I don't care about the hype surrounding Lana Del Rey, it doesn't interest me. I don't care that she's changed her name (hardly a new phenomenon in the entertainment industry) or how wealthy her father is. I don't care that she's a nervous live performer - it's hardly surprising given the barrage of attacks she has already faced. Oh, and I certainly don't care whether or not her lips are enhanced by collagen. It's somewhat disturbing that only female singers ever face this kind of harsh scrutiny, but otherwise it's irrelevant.

All that matters to me is the music - and the music is sublime.

A big part of the appeal is that incredible, shiver-inducing voice; one moment it's a world-weary drawl encompassing all the despair of broken dreams and unfulfilled hopes... the next it's girly and playful with an uncomfortable undercurrent of knowing sexuality (hence the 'Lolita' comparisons). It's perfectly matched by the 'Lynchian' quality of the music, a combination of dreamy, seductive Hollywood strings and grimy trailer-park beats. It's Nancy Sinatra lost in the world of Twin Peaks.

Bizarrely a few critics have suggested a certain misogyny is present in her lyrics; they seem determined to remain oblivious to the persona Del Rey clearly adopts in virtually all the songs here - a (sadly not uncommon) teenage girl lacking in self-worth, dreaming only of wealth and celebrity and so desperate to find and hold a man that she willingly accepts indifference or even outright cruelty, telling herself she's in love. It's precisely this which makes songs like Video Games so heartbreakingly tragic. Del Rey is merely portraying (based on personal experience, apparently) the misogyny so many young women still fall victim to, partly because they aren't strong or confident enough to demand the better life they deserve.

To sum up: if you liked the singles Video Games and Born To Die, there's plenty more of the same here. The only real problem Lana Del Rey faces is, how do you follow an album as accomplished as this? I for one can't wait to see what she does next.

This is an amazing album. 48 hours ago I had never heard of Lana Del Rey...But when I saw the magnificient cover of "Born to die", I had to give it a try.
I was hoping against hope that she wasn't gonna be another Katy Perry or Lady Gaga, and she's not!
Definitly darker, deeper, Lana Del Rey leans more towards artists such as Kate Bush, Tori Amos or the under-rated Maria McKee (later period) with a hint of Amy Winehouse. A brilliant touch of modernity in the arrangements without ever falling into the cheap "dance" or "r'n'b" format, but rather staying in some sort of ambient style.
Overall, the album is very slow and dark (americana comes to mind), the stings arrangements are superb, it is a very atmospheric album, and Lana Del Rey displays a large range in her vocals, from deep "murder ballad"-like singing to bimbo-like whisperings (although not too much thank you!). Only four stars though, because some songs feel more like fillers than anything else and repeat the same scenario.

This is an artist I didn't expect at all, and I'm quite pleased to have heard and bought this cd!

I'd never really paid much attention to Lana Del Rey before the album release, having only heard a remix of Video Games that didn't do the original justice. I looked at what the internet was saying and the reviews seemed oddly mixed between those who said every track was great and those who seemed to have some sort of a grudge against her that no-one could properly define. I made my own mind up, and very quickly joined the ranks of those who love every track.

Born To Die is a strong opener and, in similar tones to Video Games, meshes haunting melody and lyrics with a gritty, torch song quality, oddly verging between dirge and pop. Off To The Races continues the haunting theme with an offbeat love song that may at first seem like a celebration of being shallow but very quickly reveals maturity and depth, and once listened to is difficult to forget. Blue Jeans is a beautiful pop song slowed down to a pace where it almost feels like a ballad. Video Games is simply the most beautiful song of the last year. Diet Mountain Dew is a breezy almost nonchalant pop song.

National Anthem is a playful song that on the surface has some lines that might make you think it's a clumsy way of celebrating the money and fame worship you hear in some other singers' songs, but the OTT way it's done and some of the lyrics, once closely listened to, clearly show it's a send up. Dark Paradise, a beautiful ballad about loss, is like an Evanescence song without the operatics. Radio is one of those guilty pleasure songs - a laid back pop song with a chorus that, if played on radio, would require much editing, and yet still manages to remain sounding innocent and beautiful. Carmen is a warning tale of the sad effects of Hollywood. Million Dollar Man is an old time dirge ballad with an undercurrent of sadness, and is extremely classy. Now comes one of my favourite new pop songs - Summertime Sadness. At this point you may think there is a theme of depression sinking into the songs, but this song is hard to describe because it somehow manages to be downbeat and uplifting at the same time. Ending the main album is This Is What Makes Us Girls, which is another one of those songs that could appear to be glamorising shallowness, yet at the same time has very knowing lyrics and manages to hook you into the story it's telling.

The three extra tracks don't stray too far from the winning formula of the main album. Without You is a heartfelt ballad that it is hard to believe was left off the main album. Lolita is a playful song that perhaps is a bit too much Avril Lavigne in her unconvincing bratty stage to fit too well with the other songs, yet isn't what you'd call bad. Lucky Ones is definitely the song that should end the album, a gentle ballad that slips comfortably into the silence at the end of the CD.