Lana Del Rey re-disappoints fans

Lana Del Rey’s newest album, “Born to Die: Paradise Edition,” could be compared to a movie that producers green-lighted just because the first one racked in inordinate amounts of money. Repackaged with her first album, “Born to Die: Paradise Edition” offers eight new songs, each sounding vaguely similar to the last one; almost like a reoccurring dream that carries the same theme throughout.  A melancholic slow lurch forward with each new track that explores Del Ray’s fascination with 50s and 60s Americana and what it means to her to “just ride.”

Unlike her first album, which focused primarily on an extroverted attempt to impress others with an almost James Dean flair, “Paradise Edition” becomes increasingly introspective, but not necessarily to Del Ray’s benefit. While the notable songs on the album, such as “Ride,” “Cola” and “God and Monsters,” all do focus on Del Ray herself, they seem to have been written with the same mood in mind; an almost “I’m a free bird whose had her wings cut off” kind of vibe, and that gets old after a while.

Even though “Paradise Edition” does seem to slog on unnecessarily, Del Ray’s wit does shine through, almost accentuated by her deadpan delivery. Just listen to the first line in “Cola” and you’ll hear the line “My p***y tastes like Pepsi-Cola,” and won’t be able to wonder; was this deliberate, or was it a moment of tongue in cheek humor, based off of Lana’s Americana aesthetic?

Despite all of the talk of getting old and dragging on, there are some great, catchy hooks in the album. “Ride” shines through as the strongest track, conceptualizing the whole born to die, America, f*** yeah, too dope for skool, let’s go get high, feel. While it’s not necessarily the best pop album in 2012, Paradise Edition does have its moments; almost like a shattered diamond in the rough that has to be found, polished and cut in order to let it really shine.