Sad Looks Pretty on Me - Lana Del Rey's "Born to Die"

February 27, 2022

Many critics panned Lana Del Rey’s major-label debut “Born to Die” when it came out in 2012. Pitchfork called it “a collection of torch songs with no fire.” Critical scores averaged 62/100. Listeners’ scores averaged 86/100. The next few years vindicated the public’s score, as other melancholic pop stars like Lorde or Billie Eilish made huge waves in the music world.

Katy Perry’s “Teenage Dream” had come out only a couple of years prior and “Prism” would be released a year after “Born to Die,” and would do remarkably well on the charts. Signs pointed to upbeat, happy pop continuing to rule the charts. But “Born to Die” suggested there was a growing contingent of people who did not relate to such postulated positivity.

Critics aside, “Born to Die” is one of my favorite records. Artistically speaking, Lana Del Rey has other “better” albums: “Norman Fucking Rockwell!” achieved the critical acclaim “Born to Die” missed out on. This is a blog about my favorite albums, however, not what’s in vogue.

Compare “Off to the Races” to Katy Perry’s “Firework.” It’s clear why critics were uninterested. Even the more lyrically positive songs, like “Radio,” are mellow - difficult to dance to. (Granted, dancing to any song has always been hard for me.) “Off to the Races” has some of the best dark harmonies in a pop song I’ve ever heard. “Carmen” stares unflinchingly at fame and Del Rey’s own past through an extended prostitution metaphor. “Summertime Sadness” is a banger for the whole year. This album has a lot of emotions for people who have lots of emotions. In Fall Out Boy’s words, Lana Del Rey sings songs to catch the ears of the desperate.

Highlights:

• “Off to the Races:” A deeply disturbing song about L.A. life. Even without lyrics, “Off to the Races” would threaten any listener.

• “National Anthem:” Del Rey expertly plays her man: from innocent girl to Queen of Saigon in less than four minutes.

• “Summertime Sadness:” If any song predicted the melancholy of Lorde’s “Royals” or the downtempo Billie Eilish’s “bad guy,” it’s this one.