And it’s to Lana Del Rey’s lasting credit that after a rocky career launch that would have crushed many equally talented artists - a quick rise to fame with her webcam-shot video for “ Video Games” that was the 2011 equivalent of a meme, then a disastrous Saturday Night Live performance that nearly finished her off - she’s managed to cultivate, nurture and sustain that fanbase with a deft and artful combination of mystique, titillation, gratification and most of all, challenging and ever-evolving music. When an artist inspires that kind of slavish, obsequious, at times bizarre devotion - especially at the usually jaded South by Southwest festival - they’re pretty much set for the next couple of decades. As she sings “I know for you it’s easy for you to walk away” distant drums join in and the track becomes both complete and devastating.“We love you Lana!” “Marry me!” “You’re sooo awesome!” “I love turtles!” (huh?) The fact that it doesn’t and restrains itself (barely), is a testament to the confidence of the musician and the dignity shown in the face of the end of relationship.Īn honourable mention should go to “Recite Remorse” one of the loveliest track of the year, an electric organ and Crutchfield’s voice. However, the vocals, lyrics and the almost militaristic drumming held together to by an acoustic guitar, as Crutchfield sings, “A disaster, dignified”, ahead of the chorus, you expect the track to shift a gear. Katie Crutchfield’s lyrics may be the centre of attention, but the album is phenomenally recorded.Ī track like “Sparks Fly” could almost be a filler track on any indie album. The record shouldn’t only be seen through that prism, however. WAXAHATCHEE | Out In The Storm (Merge) | Rated: 8.5Īn engaging and strident break up album. It’s a shame there isn’t more of that as, sadly, the album nosedives from there, finds its level and is just a bit boring. “Love” is a beguiling track, and a rare moment where Del Rey isn’t whining about how life is a bummer.

Ludicrous as the lyrics are, “Lust For Life” is catchy. There are redeeming moments on the album. The songs blend into each other and are instantly forgettable. The fact she has fallen back into the same sorta-hip-hop production as on her first record, which dwarfed the subsequent two in sales, is not likely to be a coincidence. Where the second and third albums Lana Del Rey released ( Ultraviolence and Honeymoon) were positive progressions, this album is entirely regressive. She naturally compares him to James Dean. Personally, I think the guy from “Blue Jeans” on her first record was much cooler sounding, somehow making her eyes burn while wearing the Jeremy Clarkson-esque blue jeans and white shirt combo. In “Lust For Life”, featuring everyone’s favourite male moaner, The Weekend, she sighs, “My boyfriend’s back, and he’s cooler than ever”. ‘Sadcore’ lyrics everywhere, as ever, but with the music returning to the same depressingly low standard as her debut. If anything, she’s less interesting than ever.

Lana Del Rey’s fourth album shows no sign of her doe-eyed, breathy and miserable character changing. Lana Del Rey | Lust for Life (Interscope) | Rated: 4 It’s easy to dismiss this as playing to the gallery, but that misses the point. It’s hard to resist the crowd chanting on the title track. Even the lyric “Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, sometimes a Sunday” can’t derail it.Īrcade Fire’s live show euphoria has translated across to this album. “Signs of Life” is an absolute blast, from the strings and hand clap combination to the bassline. Much of this must be down to Thomas Bangalter (one half of Daft Punk) being on production duties. And an honourable mention should go to “Everything Now” for the (presumably) deliberate use of the pan flute part from “ The Coffee Cola Song”. There is a distinct Abba-vibe to the album – see the glorious string intro to the title track as a good example. The track carries a groove not unlike a Wild Beasts track. The desperation of “Put Your Money On Me” towards the end of the both easy to relate to lyrically, and forced home by being sung by Butler umpteen times. It’s a warning in the same vein as “We Used to Wait” from their third album The Suburbs. The instant gratification, stream everything, too much choice world we live in is the focus of lyricist and lead singer Win Butler’s musings. But instead, another concept album appears. Following an album which topped the charts in the US, the UK and several other countries, it would have been tempting for them to replicate their previous record, Reflekor.

This week we’ve reviewed Arcade Fire’s fourth album, along with Lana Del Ray and WAXAHATCHEEĪrcade Fire | Everything Now (Columbia) | Rated 9Īrcade Fire has successfully managed to remain both critically adored and commercially successful.

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