Which is the best of the songs revealed?
Michael Baggs

14:06 9th June 2014

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The biggest album release of June 2014 is arguably Lana Del Rey's upcoming Ultraviolence collection, the follow-up to her hugely successful Born To Die, which gave Lizzie Grant her long-awaited mainstream breakthrough.

After such a successful record, Del Rey clearly has a lot to prove with Ultraviolence. Born To Die took this previously unknown singer/songwriter and propelled her to the top tier of female superstars, and grew a fanbase of devoted fans across the globe.

As we grow ever closer to the 16 June release of Ultraviolence, more tracks from the album have been revealed. Some officially, others - less so. The tracks we have heard are all of exceptionally high quality, but some stand head and shoulders above others. Check our thoughts on every track we have heard so far from Lana Del Rey's Ultraviolence.

  • 'Black Beauty': A stolen hard-drive in 2013 resulted in a biblical flood of Lana Del Rey demos onto the internet at the end of last year, but 'Black Beauty' is the only leaked track to make it onto Ultraviolence. Subtle and tender, the simple production and rolling beat of 'Black Beauty' showcases a sweeter side to the superstar, who clearly understands that bigger isn't always better. We can't wait to find out what the mastered album version sounds like. 7/10

  • 'Shades Of Cool': Born To Die was packed full of brilliant, immediate pop songs but on Ultraviolence, Del Rey has focused on atmosphere and elegance over digestible pop tunes. A sombre, roadhouse ballad, 'Shades Of Cool' has hints of David Lynch in its slowly swaying melancholy, and even boasts touches of acclaimed Japanese composer Akira Yamaoka in places. It grows to a squealing, unsettling middle-eight where Del Rey is all-but drowned out by Auerbach's guitar but remains perfectly measured and expertly paced throughout. 8/10

  • 'West Coast': The first official single from Ultraviolence, and a dark, disturbing curveball from the Born To Die singer. Where her debut album was a shimmering collection of decadent pop ballads, the first taste of Del Rey's collaboration with The Black Keys' Dan Auerbach is a brooding, downbeat release, dripping with menace and taking a brave step of dropping the tempo as it hits the chorus. 'West Coast' is pure Lana, however, with lovelorn lyrics and references to the Americana she has honoured throughout her short career. It's not as immediate as many of her Born To Die singles, but 'West Coast' is an unforgettable and brave slice of slick modern pop. 8/10

  • 'Brooklyn Baby': Dan Auerbach was never the most obvious choice to produce Lana Del Rey's second album, but the fruits of their collaborations are nothing short of spectacular. 'Brooklyn Baby' has elements of Born To Die in its swooping, fluttering melody but with a rougher, raw edge added by Auerbach's unmistakeable guitar band expertise. Ethereal and delicate, 'Brooklyn Baby' is Lana at her absolute best, and truly ramps up expectations for the album's imminent release. 9/10

  • 'Ultraviolence': The biggest, most epic track heard from the album so far, Ultraviolence is the string-laden epic that we came to know the star from her Born To Die album. Grand and elegant, 'Ultraviolence' also displays Del Rey's absolute mastery over her craft, and shows a sense of restraint few artists can ever hope to achieve. Stirring and magnificent, 'Ultraviolence' is never overblown and refuses to over-egg the drama inherent in the melody and lyrics. A true example of her progress as an artist. 9/10

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