Lana Del Rey - The Top 10 Songs

In this addition of 'The Top 10', we'll be looking at the work of sultry songstress, Lana Del Rey. With the singer having recently released her latest album, Ultraviolence, it seems only fitting that we look back at the Top 10 songs of her career to date (in our opinion, so no need to get out the pitchforks!). Fancy seeing if your favourite Lana song made the list? Then look below! 

10: Cola

Kicking it with the controversial; Lana Del Rey's 'Cola' breezes in at number 10. What's controversial about Cola, I hear you ask? Well, the opening line made leave you a bit stunned, but its one of the reasons why we love it so much. 'Cola' is certainly different, and the sultry melody and cascading beats make it one to remember. Yes, our eyes are certainly 'wide like Cherry Pies' for this Lana track, and everything about it just oozes seduction and vintage, and its probably one of our guilty pleasures. 'Cola' is taken from the Paradise Edition of Born To Die. 'Cola' tends to divide fans for its questionable lyrics, but what do you think? 

9: West Coast 

Swaying in at number 9 is the effortlessly atmospheric 'West Coast', taken from Del Rey's Ultraviolence album. The track is suitably unique with varying shifts in tempo, and it is this variant from Lana's usual tracks that make 'West Coast' such a delight to hear. Of course, Lana's voice is suitably hypnotic on the track, and it has that calming but intriguing sound to it, which make it stand out. 'West Coast' deserves its place as number 9, and it'll definitely grow on you if you haven't had the pleasure of hearing it before. 

8: Gods and Monsters

In the land of Gods and Monsters, Lana Del Rey reigns supreme. Yes, it's 'Gods and Monsters', also taken from the Paradise Edition of Born To Die, in at number 8. A lesser known Del Rey track, but one with quite a lot of meaning and some pretty memorable lyrics. The song is sung in Lana's usual drawl, with elongated words delivered in particularly decadent fashion, but 'Gods and Monsters' also possesses a rather mesmerizing quality to it, which we find fascinating. If you haven't heard the song before, you can listen below:

7: Brooklyn Baby

Taking a different tone, and changing things up a bit, is the effortlessly cool 'Brooklyn Baby', taken from Lana's Ultraviolence album. The track is different in that its remarkably self-assured, but still possessing that whimsical air to it, with angelic resonating vocals from Del Rey that elevate the song to new heights; 'I'm free'. We're also pretty big suckers for the whole 'Yeah my boyfriend's pretty cool/ but he's not as cool as me' line. The whole vibe references several clichés about Hipster culture and the guitar beats (you can thank Dan Auerbach for that one) in the song are particularly on point. 

6: Young and Beautiful

Oh yes, we went there. Taken from the soundtrack to The Great Gatsby, Lana Del Rey's 'Young and Beautiful' has to be one of the most apt songs for the novel-turned-film adaptation. We have to say, this one is particularly haunting, and it has that whole grand aura and sense of gravitas that you don't get with most songs. It's true it has that cinematic sound to it, with the music video reflecting the Art Deco era; 'Young and Beautiful' sounds like a classic and rightfully so. The lyrics particularly resonate for a society obsessed with the young and the beautiful, and then age old question of 'Will you still love me when I'm no longer young and beautiful?' will no doubt be relatable to most people. 

5: Summertime Sadness

Released approximately 2 years ago, and perhaps one of the only songs with an equally good remix (by Cedric Gervais), which also became a sleeper hit for the singer, is the ridiculously catchy 'Summertime Sadness'. As we venture into summertime once more, it seems only appropriate to reminisce about this idyllic track, which combines the bitter-sweet with the disturbing in equal measures. The way in which she delivers each verse is notable, with the lazy drawl being one of the most notable features of the track, paving the way for the trip hop and pop beat. If you're looking for that extra dance effect, check out the Cedric Gervais remix on YouTube. 

4: Shades of Cool

Swimming in at number 4 on our list is the bewitching 'Shades of Cool'. Inevitably taken from her most recent album, Ultraviolence, 'Shades of Cool' does what it says on the tin. It is quintessential 'cool'. The track itself has a beautiful instrumental accompaniment, which compliments Lana's sweeping vocals perfectly. Dripping off effortless sophistication, 'Shades of Cool' is suitably brooding and features Lana cooing eloquently 'Your heart is unbreakable'. The electric guitar solo at the end finishes off the track in a suitably vintage style. It's pretty breath-taking. 

3: National Anthem

As we sprint into the final stretch, it becomes increasingly more difficult to limit down the number of tracks. However, just nabbing the number three spot is the iconic 'National Anthem', which has plenty of critical social commentary to boot, not to mention a fantastic addictive chorus which mirrors the whole song; 'Money is the anthem of success'. Fuelled full of sarcasm and with Lana's undeniable charm echoing throughout the song, 'National Anthem' is, rather ironically, its own anthem for the monetary classes. With a chorus that is borderline euphoric, and a sweet sadness that lurks just beneath the glitter and glamour in the lyrics, 'National Anthem' is one of those stand-out songs that you don't ever quite forget. 

2: Video Games

So, what song was almost the number 1? Well, it's none other than the pop ballad, 'Video Games'. Video games features some beautiful musical accompaniment in the form of pizzicato strings, and is basically one woman's ode to being ignored. Video Games has a utterly divine sense of simplicity, with vulnerability reflected at every turn across the 4 minutes 46 seconds running time. Del Rey has talked about the track and how there is an element of 'contentment' but with that 'also comes sadness', and this is pretty obvious throughout the electronic brash beats, solemn piano and the delicate dashes of violin.  

1: Off to The Races

So, what track reigns triumphant amongst all the rest? Well, whilst we're sure some of you thought 'Video Games' would be the top Lana track, we can't help but be drawn in by the deliciously insane 'Off to The Races'. Full of references to the novel, Lolita, 'Off to The Races' is a turn of styles for the singer, as she incorporates a rapping style that mimics quick chatter, and the beats alternate between fast and mid-tempo, creating a different type of rhythm that rivals every other Lana track. 'Off to The Races' simmers in desperation and reliance and there's something interesting about how the concept is used to great effect in this particular song; and we're sure everyone will have heard of the 'harlot, scarlett, Queen of Coney Island' lyric. You can't fault the track for its uniqueness, and it is this that makes it stand-out amongst the others as a mix of alternative hip-hop and pop. 

HONOURABLE MENTIONS:

Of course, when compiling a list of the top tracks, that have to be limited to ten, it is with great sorrow that we have to 'miss out' a few, so here is our list of 'Honourable Mentions' that couldn't make it onto the official list - but still check them out! Our 5 Honourable Mentions include:
5. Black Beauty (check this out if you are into gloom and doom)
4. Born To Die (for obvious reasons, but unfortunately it didn't make a big enough impression to feature on our list - though we're sure some will disagree!)
3. Money, Power, Glory (we actually really like this one from Lana's most recent album, and its probably one of our favourites, but we just couldn't make room for it on our list amongst some truly great Lana tracks.)
2. Backfire (this one probably most people won't know, but it has an incredible hook and you should definitely check it out!)
1. Ultraviolence (we love the controversial nature of the song and the different meanings you can garner from it, but unfortunately we couldn't find place for it on our list, but obviously, still give it a listen). 

Florrie - Little White Lies

Drumming up a storm in her latest video for 'Little White Lies' is Florrie (Florence Arnold), the rising English pop singer, songwriter and, you guessed it, drummer. 'Little White Lies' is a mix of electronica and pop, with some pretty funky drum accompaniment by Florrie - that girl can really rock out! 'Little White Lies' is her latest single, and we're a little bit in love; Florrie's voice is beautiful and angelic amongst the synthpop beats and the mix of the mid-tempo drumming. 

The video sees Florrie immersing herself in a field, and also traversing through a number of plastic bags (representing the 'little white lies', no doubt) as they drift throughout the video. The whole affair is noticeably colourful and fun, and Florrie looks to be having a good time amidst her band as she takes the lead for once, having played as an in-house drummer and performed with many popular acts like Kylie Minogue, Girls Aloud and the Pet Shop Boys. We think Florrie is definitely one to watch in the music world, and you can check out her latest video below: 

Sia - 1000 Forms of Fear [Album Review]

Sufficed to say, Sia's been in the music industry for longer than most, producing and co-writing many successful hits for a number of more 'mainstream' artists. Having penned Beyonce's 'Pretty Hurts', and having co-written songs with Jennifer Lopez, Katy Perry, Britney Spears, Eminem and many, many, more, it's fair to say Sia's fully adept at churning out those catchy tunes for popular artists. Bridging the boundaries between song-writing and actual singing, Sia's sixth studio album is aptly named 1000 Forms of Fear. Why so apt we hear you cry? Well, it is known that Sia Furler has suffered from bouts of depression, alcohol and drug addiction, and that this album is the first since her series of problems, and 1000 Forms of Fear reflects the types of addictions that can grasp you; as well as serving as a living reminder that Furler is uncomfortable with fame. The tracks, with equally poignant names, all have a story to tell and focus around a recurring theme; fear. It's quite clever that Furler has decided to take this particular path with her music and considering the challenges she has faced in the past, the latest album may end up being her most successful to date. 

The album comes from a very personal place, and that is reflected throughout the songs, with the electro-pop ballad 'Chandelier' focusing on alcohol addiction and focusing on self-destruction. The dark themes of the song fit in perfectly with the rest of the album, and Sia's vocals soar amongst the synthesizer, drums and electronic beats. Of course, many will know the track for its video, featuring the ever charismatic Maddie Ziegler, who dancing has attracted the attention of millions. 'Chandelier' was originally wrote for either Beyonce or Rihanna, but to be frank, we can't see anyone other than Sia singing her own song in such a passionate and mesmerizing way, as she does. It's one of those tracks that has everything, the addictive beat that reflects the nature of the song, and the power from Sia, with her vocals wavering and breaking at certain points; reflecting the fragility of the piece, as well as its strength. 

Elsewhere on the album, is the indie pop/electronica 'Elastic Heart', which has to be one of our favourites from 1000 Forms of Fear. Aside from being from The Hunger Games: Catching Fire Soundtrack, the track encompassing the unusual, with Sia's voice taking on almost a life of its own as it is mixed perfectly and warped between the rhythmic beats. It's quite a difficult track to wrap your head round, with the words at time becoming unclear, but this obstruction makes us love it even more; Sia's tracks are always so reflective and thought-provoking, whilst at the same time being addictive pop hits in their own right. If anyone's got song-writing and singing down to a fine art, it's Sia. 

Furler teams up with Chris Braide on the memorable 'Big Girls Cry', which features some rather interesting selection of lyrics 'And I don't care if I don't look pretty/ Big Girls Cry when their hearts are breaking' (we feel like adding in a triumphant 'You go, girl'). The result of the pairing is a more vulnerable and introverted song, with Furler hitting the notes with such simplicity. If you are now scouting out for potential other favourite songs (haven't exhausted the released singles), we would suggest the moving 'Dressed in Black', where Furler sings about being saved from the desperation she felt 'Life had broken my heart, my spirit/ And then you crossed my path/ You quelled my fears you made me laugh/ And you covered my heart in your kisses'. 

The fear continues with the disturbing but rather eloquent piano-ridden 'Straight for the Knife', which tackles the idea of 'romance' gone wrong, 'You went straight for the knife, and I prepared to die/ Your blade it shines/ Looked me straight in the eye, you turned the gas on high'. Furler has that ability to hit it hard when she needs to, and that is one of the most captivating features of the album - her ability to enthral a listener with a simple track. Whilst we are a bit partial to the atmospheric 'Fire Meets Gasoline', the alternative 'Eye of the Needle', we couldn't quite get into 'Hostage' or 'Free the Animal'. 

Sia Furler is one of those rare artists who can do both of the unthinkable in a music world, filled with auto-tune and mind-numbing repetitive beats; create and write a catchy song with meaningful lyrics and sing it like no other. 1000 Forms of Fear best encompasses Furler's unique sound for the audience who may not have any idea who she is. 

Foxes - Glorious (Music Video) [+ Review]

Foxes has a new music video out (watch below), and it's for none other than the title track from her début studio album, Glorious. The aforementioned 'Glorious' single is a mid-tempo pop mix with a mix of instrumental guitar riffs and beckoning chorus melodies. We particularly adore the section towards the end of the track when the song reaches its climax, so to speak, and Foxes is joined by a great accompaniment of additional singers, that unanimously sing 'When the time is right/ and there's no way out/ and I ain't losing something I ain't got'. 

'Glorious' is an aptly named track that does indeed showcase Allen's talents and provide the perfect opportunity for her to show that she can deliver a powerful and full-out track like 'Glorious', and hit those strong notes, whilst still bringing it down to a more manageable, bitter-sweet level with the first verse. Additionally, the guitar riffs at the end of the track just add that extra something to the track, making it that little bit more edgy and notable. In contrast, the music video, whilst beautiful in its own bizarre way, featuring a beautiful hue of summery pastel colours (apt for the time of year), is a little bit confusing and perhaps not executed in the right fashion, as we fear many audiences will be a little bit confused to the mismatched nature of the video. 

However, as music videos often don't make a lot of 'sense' at first glance, we would love to hear what Allen herself would say about the concept of the video (we see it as another way to show the artist's distance from the surrounding people - by having their faces covered by flowers and the like, and them performing mundane activities - and showing her level of disconnect to them), as undoubtedly it would be interesting to get an inside perspective. Nevertheless, the track is indeed a 'Glorious' addition for the singer, and we look forward to hearing what material she will be releasing next. 

You can read our review of Foxes' début album, here.  

The Fault in Our Stars [Soundtrack Review]

While audiences near and far are still weeping over the recent film adaptation of John Green's novel, the soundtrack for The Fault in Our Stars deserves separate recognition for its varied musical sounds, with talented singers and music artists showcasing their talents in the form of Ed Sheeran, Charli XCX, Birdy, Lykke Li, Tom Odell, Jake Bugg, Kodaline and many more. 

Progressing through the album in a rather whimsical fashion, the first track to catch our attention is the synth-pop stylings from Charli XCX, whose recently co-starred on music hit 'Fancy' with Iggy Azalea. Whilst she may be dominated the charts with 'Iggy Iggy', Charli XCX's 'Boom Clap' features Charli's deep vocals (in a similar style to Marina Diamandis, with whom she featured with on the track 'Just Desserts') echoing the title distinctively, and admittedly, in a rather catchy fashion. The track has a succinctly airy quality to it that is brought back down to its roots by the powerful drum and 'clap' beats. Overall, it's a welcome addition from the English recording artist and paves its way as a solid hit from the soundtrack. 

Meanwhile, Ed Sheeran's 'All Of The Stars' offers up a touching ballad that features some pretty melancholic piano accompaniment, and combined with the lyrics, this one will no doubt be a pretty big tearjerker for listeners. Featuring incredibly apt lyrics (which we won't repeat in case it spoils the movie for you) that can only be recommended to listen to after you have watched the film, Sheeran's track is possibly the most reflective song on the soundtrack, as it seems to encompass the essence of the movie in a sea of emotion (that is probably made from your tears, too). Whilst the melody is fairly simplistic, Sheeran's vocals are on point and as drawn out, soft and lasting than ever. Powerful stuff. 

Having already flexed her vocal chords for the Twilight: New Moon soundtrack, for which she recorded 'Possibility', Lykke Li is back and as haunting as ever on the soundtrack for The Fault in Our Stars. Her addition, 'No One Ever Loved', also sees Li taking firm use of the piano to compliment her soaring vocals (the sound of the beginning of the chorus reminds us of a little bit of 'The First Time I Ever Saw Your Face') and the effect is truly mesmerizing. The delicate piano vibe continues with the emotional and sullen 'Not About Angels', recorded by Birdy, which features some pretty isolate piano playing that just sets the mood of the track perfectly, with Birdy's voice quivering in places making it that more emotionally charged. 

Some of the lesser known - but still incredible - tracks from the album include STRFKR's electronic 'While I'm Alive', which is particularly funk-tastic, whilst Tom Odell's vocals on the resonant 'Long Way Down' make it worthy of a listen, and Kodaline's 'All I Want' is ready to tug at the heartstrings with its melancholic lyrics and overall depressive vibe (it really does sound like it is made for this particular type of film). 

Overall, The Fault in Our Stars soundtrack ranges from the deeply depressive and sob-enducing to the rather more upbeat and uplifting with Charli XCX's 'Boom Clap' being a welcome change in the tone of the soundtrack (after all, no body wants to spend the entire hour consistently crying through 15 tracks, do they?), and whilst for any other film most of the songs would seem inappropriate, for the film adaptation of John Green's novel, anything less would be a travesty.