David Safar from Minnesota’s ‘The Current’ radio station recently interviewed Lana Del Rey about ‘glamourized paranoia and her love of Father John Misty and Miss Nina Simone.’
Below is only the beginning of the interview, however you can click here to read and/or listen to it in full.
David Safar: It was just last year that you released Ultraviolence. Was there a sense of urgency to get back into the studio?
Lana Del Rey: Yeah, a little bit, but I don’t really know why. I think it’s just a personal thing. I felt like I had a couple of songs that I had been working on while I was mixing Ultraviolence, which took a really long time. I just wanted to see if I could start making another record. I guess whenever you put out record I guess it’s a good time to work on something new because you don’t really have any pressure.
You’re past your debut and your sophomore releases, you’ve worked with many different artists and you’ve toured. What made Honeymoon different?
I was glad to be past that second record. [laughs] It was fun. I worked with this guy that I love. He’s been my producer for a really long time. His name is Rick Nowels. I got to go in [the studio] every day and see some things I had been working on or start something new. Early on I wanted to have [Honeymoon] to have a little bit of a noire feel so I loved the title track “Honeymoon.” I guess it kind of loosened up a little bit as I went forward with songs like “Freak” and “Art Deco.”
Rick Nowels has worked with everybody from Tupac to Madonna to Jamie xx. What’s your connection to Rick and what does he bring to your music?
One of the reasons I like Rick so much is because a lot of producers, when they get into the studio with an artist, they want to challenge them or they want to break them down and build them back up again. I find that really unhelpful. Rick always says yes and he’s really fluid. If I’m stuck with an idea lyrically and want to say, “Screw it!” and move on, he doesn’t care. We move on to a new idea. He’s very easy. He contributes a lot in terms of – I mean, he plays everything. All the keyboard parts, all the guitar. He’s pretty amazing.
Each album of yours has a distinct narrative and you’re able to adopt that narrative and thread it throughout the entire album. What was your intention with the narrative of Honeymoon?
I do love records that have a strong concept. The narrative for [Honeymoon], it was a tribute to Los Angeles and, because of the soundcaping — we had a lot of amazing strings — I think the mood was the narrative. It’s a lot of descriptive pieces about driving at night or being in love, not being in love. Kind of the same old thing.