Lana Del Rey is a complicated woman. In her first studio album, “Born To Die,” she gives us hits in a flowing, cohesive album that tells a story. That’s not the case with “Ultraviolence.” 

Just when she thought she said everything that needed to be said in her first album, “Ultraviolence” is a whole new personal story that most people would have to be drunk to tell.

 Del Rey is sad, confused and troubled in her sophomore release as she discusses love, heartbreak and abusive relationships with men and drugs. 

Yet, she maintains an intimate and sexy tone, seducing listeners with every lyric that comes out of her mouth. It’s working, too.

The lyrics in the album’s opener, “Cruel World,” can be described as chaos and lyrics such as “get a little bourbon in ya” and “go crazy” add to the chaotic feel of the album.

A song that dives into Lana’s alcohol abuse, the rest of the album plays off the idea that Del Rey is telling us her drunken thoughts. 

Del Rey moves us into the title track, “Ultraviolence,” which is a nod to book and movie “A Clockwork Orange.”

“Shades of Cool” sends you on a euphoric journey with its waltz-y sound and thunderous guitar climax. 

The album’s hit single, “West Coast,” is both laid back and melodramatic. Picture a surfer from the beach of the Pacific Ocean caught on the busy streets of New York City and you have this song. With its malevolent groove that instantly makes you think of film noir, the song perfectly encapsulates Del Rey’s love for the Hollywood lifestyle. 

“Sad Girl” marks the second half of the album where Del Rey is her most honest, “Being a mistress on the side/ It might not appeal to fools like you.” She knows being a side girl isn’t the best thing, but she knows she can handle it. 

Lana disregards lady-like behavior in a way Monica Lewinsky would be proud. This half of the album is a completely different transformation than the first five songs. Del Rey goes from getting drunk and crazy to accepting who she is and what she wants, which she firmly states in “Money Power Glory.” 

To even try to categorize Del Rey’s music is insane. Most critics label it as pop but her music has more substance than that. She’s created a unique sound that captures the essence of romance, lust and 1950s Hollywood. 

In 51 minutes we learn an incredible amount from Lana Del Rey. Her desire and motives are crystal clear and has a power over her listeners where we’re left wondering if we’re listening to a heroine or a villain and I think that’s the way she wants it to be.