![The Guardian:]()
The Guardian: "Naturally self-indulgent, but her most sophisticated and refined yet. Her score-like songs are self-sabotagingly slow, striving for Rat-Pack romance and often succeeding. Theres a timelessness to Honeymoon, and an intrigue that should linger longer than her previous LPs."
![The New York Times:]()
The New York Times: "Honeymoon achieves a sublimity missing from her first two. Shes been angry, and then bored of being angry, but now shes just bored, and her boredom is entrancing."
![The Independent:]()
The Independent: "Happy or sad, angry or apologetic, dominant or submissive, it's apparently all the same to Del Rey, who floats through these songs with a weird indifference. It lends a sort of Stepford devotion to the more earnestly romantic songs, like 'Religion' and 'Music To Watch Boys By', while prickles of danger are raised by the darker emotions."
![The Telegraph: Honeymoon, Del Rey's third album, is a narcissistic study in unhappiness. Each new release confirms her status as a genuinely original performer who treats her career as a kind of living art installation. Here, sadness is a pose rather than an emotion. Honeymoon is an ambient album for broken-hearted hipsters: torch muzak.]()
The Telegraph: Honeymoon, Del Rey's third album, is a narcissistic study in unhappiness. Each new release confirms her status as a genuinely original performer who treats her career as a kind of living art installation. Here, sadness is a pose rather than an emotion. Honeymoon is an ambient album for broken-hearted hipsters: torch muzak."
![Gigwise:]()
Gigwise: "An album of greater subtlety and restraint than many might have expected. Nestled somewhere between the minimalist trip hop of Born To Die and the scuzzy, riff-heavy Ultraviolence, the album betrays the supreme confidence of a musician who is entirely uninterested in winning anyone over. There's no urgency, few obvious singles, and little fanfare. It demands repeated plays from its listener, and has no doubt that they will oblige."
![The Line Of Best Fit:]()
The Line Of Best Fit: "Ultimately, Honeymoon debunks the idea that Del Rey is feminisms anti-hero; its instead simply a story of love and all of its consequences, regardless of the gender of its writer."
![The Evening Standard:]()
The Evening Standard: "Any lingering doubts that Lana Del Rey is the most captivating popstar on the planet are dispelled within 30 undreamable seconds of Honeymoon."
![Boston Herald:]()
Boston Herald: "Lana wanders her anti-pop kingdom mixing winks with wisdom - 'I've got nothing much to live for since I found my fame' - over 14 cuts. She closes the affair with a cover of Nina Simone's 'Don't Let Me Be Misunderstood.' Obviously obtuse, hauntingly beautiful and a perfect end to Rey's best release yet.
