Five years on from her self-titled debut, Lana Del Rey is already onto her fourth album. Honeymoon sees Lana continue down the road of Hollywood heartbreak, a seamless thematic transition from the critically acclaimed Ultraviolence.

Unfortunately that is far as the album goes. It’s a transition, but not a progression. It’s the Lana we all know and love, but that’s just it, we know it all already. Predictable slurred hip hop drum beats reign over every song and the melodies, which, whilst still beautifully constructed, refuse to make any effort to venture into new territory throughout all 14 songs.

If you love the formula she has stuck to, you will certainly have no objections to this album. The title track ‘Honeymoon’ and ‘High By The Beach’ encapsulate Lana’s style, dripping with California glamour and class. ‘Freak’ shows off her ability to switch to hip hop from classical, similar to ‘Born To Die’. But that album has been and gone. Other than the slight step into hip hop and classical music, Lana hasn’t really changed. Like a delicious pudding that has been gorged on too many times, the music has become sickly and tame. The only moment in the album that really jumps out as something different and exciting is the climax to ‘The Blackest Day’, an eclectic ending to another slow burning track which really does show off Lana’s potential.

Frustration takes over this album, because we all know what Lana Del Rey has the capability to make hits. You only have to look at previous hits ‘Blue Jeans’, ‘Summertime Sadness’ and ‘Video Games’ to know what she can do. Perhaps four albums in the space of five years has caused Lana to struggle with inspiration for Honeymoon. All in all it isn’t a bad album. If you love her, it’s just more to love. But if you were looking for more from an artist with a heap of potential and talent, Honeymoon doesn’t provide.

Luke Humphrey