//Lana Del Ray – ‘Freak’

Lana Del Ray – ‘Freak’

This, in my opinion, is one of the most Bond-esque songs to not actually appear in a Bond film.

I loved the string section in this song that use the strings to create an uplifting, cinematic feel, quite similar to this song, and a lot of other Lana Del Rey songs.

Lana del Ray is undoubtedly blessed with a distinct, colorful voice and one that captures your attention if not for its penchant to epicly sound out music that you would consider ‘melancholic.’

She actually reminds me of Sineed O’Connor.

Her voice is wondrously hollow, soft and mid-ranged allowing her to showcase a variety of emotions that carry you away.

But then again, that’s why she commands a almost religiously devoted fan base.

LDR Is One Of Contemporary Pop’s Leading Lights…

Other than “Freak’, it wouldn’t be off the mark to say that in the five short years since the 32-year-old’s album on a major label, Born To Die, came out, she has become one of contemporary pop music’s leading lights.

Cinematic Glamor

Anyone acquainted with Del Rey’s first three albums will be familiar with her carefully crafted image that draws heavily on Hollywood’s cinematic glamour of the 1950s and 1960s.

Her music is what you would like to pigeonhole into the genre known as baroque pop—an amalgam of pop and orchestral classical music—but with a contemporary twist because her albums also show the influence of more modern genres, hip hop being a prominent one, and, more recently, rock ‘n’ roll.

The Mood Of LDR’s Music Is Quite…Unusual

But what you would be most familiar with is LDR’s mood and undertone. Melancholia, misery and emotional suffering is at the core of all those earlier albums, be it 2012’s Born To Die, 2014’s Ultraviolence or 2015’s Honeymoon. All delivered in a captivatingly sensuous voice.

You would likely also be familiar with the backlash against much of her early oeuvre, particularly the first album, Born To Die, for which she faced criticism for portraying the protagonist in many of her songs (presumably herself) as little more than an object of desire.

Example: On Blue Jeans, a song on that album, she sings about always being in love with a James Dean-like character even after he’s dumped her, promising to love him till the end of time and more “than those bitches before”.

Toxic relationships recur in many of Del Rey’s songs and she appears to revel in them.

On the same album, in Million Dollar Man she sings: And I don’t know how you get over, get over/ Someone as dangerous, tainted and flawed as you.