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Honeymoon Reviews and Metascore

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Because thats what they had to do in the first play, try to understand her, not bash her. 

It's not so much in trying to understand her, but rather critics now figuring out her "shtick" and simply taking it for what it is and nothing more. And while I do agree that some of the criticisms were unnecessarily harsh early on in her career, there was also some truth in the more constructive ones.

 

 

Eh, her vocals sound great on HM. 

Eh, her vocals aren't going to change the critical perception of her. To her critics and the general public, she sounds the same as ever. To some of us, she sounds more natural and comfortable, but that hardly could be considered a huge leap - at least, not enough to be recognized.

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I think critics more or less know what to expect from her at this point in her career. Her weaknesses (vocals/lyrics) are so past the point of obvious that critics seem to pretty much ignore it now. So I can't say that the music itself is getting acclaim, but rather from Lana's ability to construct her distinct world/persona - if that makes sense. You can tell simply by the way they write about her now, almost as if they were playing along with her. Hence why I think most of them are giving her positive reviews.

What you are talking about?! I read every damn critical piece about Lana. I don't remember many complaints about her vocals besides the very subjective assertions that she sings with "no emotion" or her singing is boring. To say that Lana has weak vocals it's a nonsense tbh. I was drawn to her because of her voice mainly and I have to say that I'm not a big fan of female vocalists. Is she technically perfect? No, but she improved a lot and frankly she's better than many hyped pop and indie female vocalists. Her songs are intricate, going from a low register to a high register in a dime which few female vocalist could pull of. And dear, her music was trashed on misogynistic and ideological grounds mainly and had little to do with her vocal delivery. She's a good lyricist and I saw a steady progression in her career, there are missteps as on any album of any artists but to say that she's a weak lyricist is just as nonsensical. I could show you tens of Lana's lyrics which could hold their own even without the music. Maybe the critics got tired of their own BS about Lana and they are just more courageous in praising her music because she's more accepted now.

 

I don't follow the critics this era and I'm late but I'm surprised in a good way that the UK papers are staning for HM and I hope that it will not happen the inverse reaction to the US that happened in the BTD and UV era.

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Good reviews: Honeymoon is haunting, ethereal, ghostly, mesmerizing, beautiful, lush, cinematic. 

Bad reviews: Honeymoon is boring, slow, "limousines" and "soft ice cream" lyrics are ridiculous, it's the same from Lana, the shtick it's getting old, she mumbles the lyrics.

 

After being obsessed with Lana pieces I arrived at the point when I don't give a shit about the reviews because they are incredibly boring and cliche-istic. From some time I have the feeling that I read them before. I'm beyond the cringe worthy status when I'm reading some clueless writer's discovery of her story, having the big "revelation" that her real name is not LDR :toofunny:  or babbling about her non-authentic persona. I uber cringe when they are misspelling her stage-name to RAY (I always wondered if that is intentional) or calling her, in a patronizing mode, Lizzy Grant or mentioning SNL   :bye2: . 

 

I expect something around 60-65 (there will be 3 or 4 scores in the 30-40 range Jim Farber NYD, Chicago Tribune, AV Club and a random idiot like last year 405 reviewer of UV Derek Robertson (Carl Williot from Idolator hates HM and the Baeblemusic blog has a negative campaign against her lately but I don't think that they count towards the MC score). Most of the reviewers will wash their hands with a 55-65 score and there will be some stans who will even out the hater scores. Really,"the same old" accusation it's more fitting to these writers than to Lana's music. I almost forgot that Youtube buffoon Anthony Fantano who will give Honeymoon a 0 score while singing mockingly the chorus of Salvatore.

 

Have "fun" I guess reading that BS, mostly the pieces where you have the clear impression that the critic didn't even bothered to listen to the album properly lifting out a word or a sentence to trash the entire lyrical content of the album. Most of the writers are misogynistic pricks, failed indie musicians who are jealous of her "undeserved" success or feminists who are cringing at her music and I'm frankly amazed, given the divide between her and the critics, that she has a respectable overall score on MC.

 

I love you.


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What you are talking about?! I read every damn critical piece about Lana. I don't remember many complaints about her vocals besides the very subjective assertions that she sings with "no emotion" or her singing is boring. To say that Lana has weak vocals it's a nonsense tbh. I was drawn to her because of her voice mainly and I have to say that I'm not a big fan of female vocalists. Is she technically perfect? No, but she improved a lot and frankly she's better than many hyped pop and indie female vocalists. Her songs are intricate, going from a low register to a high register in a dime which few female vocalist could pull of. And dear, her music was trashed on misogynistic and ideological grounds mainly and had little to do with her vocal delivery. She's a good lyricist and I saw a steady progression in her career, there are missteps as on any album of any artists but to say that she's a weak lyricist is just as nonsensical. I could show you tens of Lana's lyrics which could hold their own even without the music. Maybe the critics got tired of their own BS about Lana and they are just more courageous in praising her music because she's more accepted now.

 

I don't follow the critics this era and I'm late but I'm surprised in a good way that the UK papers are staning for HM and I hope that it will not happen the inverse reaction to the US that happened in the BTD and UV era.

Some of her lyrics are shit but yeah her vocals are sublime live. Blown away by how she can go from low to high without much of a breath. She sings the difficult part of Ride very well. I don't understand being a recording artist who knows they can't sing a song as well live for eg Sia with Chandelier and Katy Perry with that first song from her latest...just don't sing the song in a high register in the first place.

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Some positive press from Germany:

 

Musikexpress 5/6 - http://www.musikexpress.de/reviews/lana-del-rey-honeymoon/ "Never before has Lana Del Rey been this strong"

Süddeutsche Zeitung (one of the most respected daily newspapers over here) - http://www.sueddeutsche.de/kultur/neues-album-von-lana-del-rey-musik-fuer-sedierte-schoenheitskoeniginnen-1.2654599

Laut.de 3/5 - http://www.laut.de/Lana-Del-Rey/Alben/Honeymoon-97527

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New Guardian review! 4/5

http://www.theguardian.com/music/2015/sep/20/lana-del-rey-honeymoon-review

 

"For the first time, Elizabeth Grant (Del Rey), veteran co-writer and co-producer Rick Nowels and recently promoted co-conspirator Kieron Menzies have created a comprehensively retro iteration of the Del Rey myth, delicately informed by jazz as much as R&B and hip-hop."


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New Guardian review! 4/5

http://www.theguardian.com/music/2015/sep/20/lana-del-rey-honeymoon-review

"For the first time, Elizabeth Grant (Del Rey), veteran co-writer and co-producer Rick Nowels and recently promoted co-conspirator Kieron Menzies have created a comprehensively retro iteration of the Del Rey myth, delicately informed by jazz as much as R&B and hip-hop."

 

Another 80. :defeated: Hope that some 85+ reviews will come next week


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New Guardian review! 4/5

http://www.theguardian.com/music/2015/sep/20/lana-del-rey-honeymoon-review

 

"For the first time, Elizabeth Grant (Del Rey), veteran co-writer and co-producer Rick Nowels and recently promoted co-conspirator Kieron Menzies have created a comprehensively retro iteration of the Del Rey myth, delicately informed by jazz as much as R&B and hip-hop."

thanks god they didn't trash her due to the ultraviolence mess


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