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10 Reasons Why Lana Del Rey’s Ultraviolence Is Already The Album of the Year

On June 13th, Lana Del Rey released her third studio album, titled Ultraviolence. The controversial singer captured the US number one slot for the first time in the record's opening week, despite not performing on American TV in over two years and only conducting a handful of print interviews. Ultraviolence sold 182,000 copies in its first seven days alone, marking a career-best sales week for Del Rey and worldwide, the album sold 880,000 copies, debuting at number one in twelve countries. Furthermore, the release of Ultraviolence marked the largest sales week for a female artist since Beyonce's self-titled album sold 310,000 copies in its third week back in December 2013.

7) Ultraviolence Explores Feminism In A Unique Way

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Del Rey infamously declared feminism was “not an interesting concept” in an interview just prior to the album’s release, but the singer certainly makes an effort to explore the idea on numerous songs throughout Ultraviolence.

The song Fucked My Way To The Top toys with the concept of using your sexuality to attain your goals, something many feminists may balk at, but depending on your perspective, some may argue that this is in fact empowering for women. Money Power Glory further celebrates dominance over the opposite sex, telling the story of a femme fatale who is out to squeeze everything she can from the men of this world. The words You should run, boy, run,” reveal Del Rey at her most menacing as she sings with a venomous rage that strikes fear into the hearts of the men she would destroy.

Lyrically, the most divisive song on the album is the title track Ultraviolence, which depicts a woman caught in the passion of a physically abusive relationship. The title of The Crystals song, He Hit Me (And It Felt Like A Kiss), from 1962, becomes a disturbing refrain in the chorus, as Del Rey sings about sirens that could signify either a deadly emergency or the allure of sexual attraction. The way in which Del Rey intertwines sex and violence on the track may be unsettling for some listeners, but the passive aggression you can hear in the verses suggests a degree of irony which critics should consider before attacking the controversial singer.