Today, world-renowned chamber pop siren Lana Del Rey debuted the smoky first taste of her second full-length Ultraviolence, titled “West Coast.” Taking a turn from the soaring orchestrations that saturated her debut Born To Die, the track vibes off of slurred half-hooks and equally hazy alt-rock instrumentation (courtesy of Black Keys’ Dan Aurebach). But even with the shift, the record still sounds undeniably Lana Del Rey; the chorus is awash with swooning proclamations of her uninhibited adoration for her bad-boy beau.
Is “West Coast” a radio-friendly shift for Lana? Absolutely not. Is it indicative of the overall sound and atmosphere of Ultraviolence? It certainly could be.