Rhiannon Hendricks
Lana Del Rey's 'Honeymoon' was released on 18 September 2015. The album was a commercial success, topping the charts in Australia, Greece, and Ireland, and reaching the top 5 in over 20 countries. Despite its success, the release was relatively quiet, with little interaction with the press. Notably, Lana Del Rey deleted a video from Honeymoon, which was later leaked on YouTube in July 2016. The video, shot on VHS, features close-ups of Del Rey applying makeup and walking along a poolside and through a grassy lawn, with interspersed footage of a tiger. The reason for the deletion of the video remains unclear.
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What You'll Learn
Lana Del Rey's quiet release of Honeymoon
Lana Del Rey's fourth studio album, Honeymoon, was released on 18 September 2015. The album was produced by Del Rey, alongside Rick Nowels and Kieron Menzies, marking a return to the baroque pop style of her first major release, Born to Die.
Honeymoon was a commercial success, topping the charts in Australia, Greece, and Ireland, and reaching the top 5 in over 20 countries. The album received positive reviews from critics, with many considering it Del Rey's best work at the time.
Despite the album's success, its release was relatively quiet compared to Del Rey's previous albums. There was limited interaction with the press, and the few interviews she did during the promotional run focused more on the sonics of the album than its lyrical content or the symbolism behind its aesthetics.
In the lead-up to the release, Del Rey created a separate Instagram account solely for the album and unveiled the track listing through her main Instagram account. The album's title track was released on YouTube on 14 July 2015, accompanied by a video with a short clip of Del Rey and the song's lyrics. Del Rey also released two promotional singles, "Terrence Loves You" and "High by the Beach," which debuted at number 51 on the Billboard Hot 100.
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The album's lyrical content
The album Honeymoon by Lana Del Rey touches on themes of tortured romance, resentment, lust, escapism, and violence. In an interview, Del Rey described the album as having a "muddy trap energy". The title track, "Honeymoon", has been described as a ballad that encapsulates the concepts of the overall album. The song features sparse instrumental arrangements, with a piano, a violin, and a cello. The lyrics of the song paint a picture of Del Rey promising glorious, aimless freedom, yet she sounds utterly alone, as if singing to someone who is long gone.
The album also includes a cover of "Don't Let Me Be Misunderstood" by Nina Simone, which Del Rey described as a way to summarize the record with a jazz song. In an interview, she mentioned that she was having fun with her interpretation of the song. Another song on the album, "High by the Beach", has been described as having an Andrews Sisters melody set to droning trap-fuelled vocals. The lyrics of the song include the lines "We both know that it's not fashionable to love me/But you don't go 'cause truly there's nobody for you but me" and "Dark blue, dark blue", showcasing the emotional and psychological depth of the album.
Del Rey's vocal delivery and the protagonist's "voice" remain consistent throughout the album, creating a cohesive listening experience. The album has been praised for its originality and innovation, with critics noting Del Rey's ability to draw from both style and substance across different eras. While there was not much interaction with the press during the album's release, the few interviews Del Rey did gave insight into the sonics of the album, its aesthetic symbolism, and Del Rey's personal connection to the music.
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Lack of interaction with the press
Lana Del Rey's fourth studio album, Honeymoon, was released on September 18, 2015. In the lead-up to the release, there was not much interaction with the press, and the few interviews she did were more focused on the sonics of the album than its lyrical content, symbolism, or her inspiration.
Del Rey did grant some rare interviews and appeared in some video clips, but the overall promotion of the album was quiet compared to her other albums. For example, in an interview with Abel, Del Rey was asked about how quickly the album was released after Ultraviolence, rather than its lyrical content or symbolism. In another interview with James Franco, the focus was again on the sonics of the album.
Del Rey also promoted the album through her Instagram account, where she unveiled the track listing and posted cryptic captions. She also released a promotional single, "Terrence Loves You", on August 21, 2015, and the title track, "Honeymoon", on July 14, 2015.
Despite the lack of traditional press interaction, Honeymoon received positive reviews from music critics and was a commercial success, topping the charts in Australia, Greece, and Ireland and reaching the Top 5 in over 20 countries.
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The album's inspiration and themes
The album Honeymoon marked a departure from the guitar-driven instrumentation of Lana Del Rey's previous album, Ultraviolence, and a return to the baroque pop style of Born to Die and Paradise. Del Rey herself described the album as having a ""muddy trap energy".
Lyrically, the album touches on themes of tortured romance, resentment, lust, escapism, and violence. In an interview, Del Rey revealed that the album was inspired by the beach and that she had been reading a lot of Daphne Du Maurier between swim breaks. She also said that the song High by the Beach enchants with an Andrews Sisters melody set to droning trap-fuelled vocals.
Del Rey further explained that the album explores the sound of the golden age of jazz, summarised by her cover of "Don't Let Me Be Misunderstood" by Nina Simone. She also posted a passage from Alfred Lord Tennyson's 1832 poem "The Lady of Shalott" on her Instagram, which hints at the lyrical content of the album. The poem is about a beautiful woman living alone on an island, in a small grey building, who will be cursed if she so much as takes her eye off her weaving.
In another Instagram post, Del Rey revealed that the album was inspired by the headspace she was in while making Ultraviolence, saying that it was in the same "place". The album has been described as having a ""timelessness" and an "intrigue" that should "linger longer than her previous LPs".
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The album's production and promotion
The production of Honeymoon, Lana Del Rey's fourth studio album, began in late June 2014, shortly after the release of her second major-label album, Ultraviolence. In a December 2014 interview with Galore Magazine, Del Rey revealed that she had been working on a new album. In January 2015, she confirmed that she was working on Honeymoon, announcing that it would be released later that year.
During the recording process, it was reported that producer Mark Ronson had collaborated with Del Rey, but their sessions did not produce any material for the album. Del Rey also enlisted producers Rick Nowels and Kieron Menzies, who had worked on her earlier songs, such as "Young and Beautiful". Del Rey herself served as a producer for the album, alongside Menzies and Nowels. In an interview, Del Rey stated that the album would be different from her previous release, Ultraviolence, but similar to her first major release, Born to Die, and the extended play Paradise.
In May 2015, Del Rey suggested that Honeymoon would be released in September, later confirming the release date as September 18. To promote the album, Del Rey created a separate Instagram account dedicated solely to Honeymoon, where she unveiled the track listing. The title track was released on YouTube on July 14, 2015, accompanied by a video with a short clip of Del Rey and the song's lyrics. Del Rey also released a promotional single, "Terrence Loves You", on August 21, 2015. The album's two official singles were ""High by the Beach", released on August 10, 2015, and "Music to Watch Boys To", released on September 11, 2015.
Compared to Del Rey's other albums, Honeymoon had a relatively quiet release, with less interaction with the press. In the few interviews she did during the promotional run, the focus was primarily on the sonics of the album rather than its lyrical content or the symbolism behind its aesthetics.
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