Paradise [EP]

User Score
7.9

Generally favorable reviews- based on 718 Ratings

User score distribution:
  1. Negative: 97 out of 718
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  1. Jul 25, 2017
    5
    Una extensión de Born To Die, donde las únicas canciones que me gustaron fueron la increíble Ride, Gods and monsters y el adecuado cover de Blue Velvet.
  2. Jul 17, 2017
    6
    it was okay............................................................................................................................................................
  3. May 6, 2017
    6
    Del Rey ofrece Paradise, un EP que continúa la oscura temática de Born to Die, y sobretodo el excesivo uso de clichés. Paradise está compuesto por 8 temas (en su versión física), los cuales en su mayoría suenan realmente repetitivos, tanto musical como líricamente. Primero, respecto al apartado musical, poco hay que decir, no aporta nada, casi todos los temas suenan similar al anterior,Del Rey ofrece Paradise, un EP que continúa la oscura temática de Born to Die, y sobretodo el excesivo uso de clichés. Paradise está compuesto por 8 temas (en su versión física), los cuales en su mayoría suenan realmente repetitivos, tanto musical como líricamente. Primero, respecto al apartado musical, poco hay que decir, no aporta nada, casi todos los temas suenan similar al anterior, eso sí, cada tema tiene un buen intro orquestado, sobretodo en los casos de Ride, Cola y el hermoso piano en Bel Air. Todos los temas tienen vibras pop e inclusive ritmos hip hop, este último a veces da un toque interesante al tema. Algunos temas tienen grandiosas líneas orquestales, como es el caso del malogrado cover Blue Velvet, u otros interesantes instrumentales como el tétrico Yayo. Pero, en su mayoría suena monótono, y a pesar de tener sobreproducción, a veces se siente sin gracia ni vida. En lo que respecta al apartado lírico, Lana vuelve al mismo error de Born to Die, el excesivo uso de clichés. Pretende parecer una ''Lolita'', además de que la reutilización de líneas le resta puntos. En su mayoría son temas religiosos, de pasarla bien en la noche y ser libre, etc... Pero el problema no es que hable de esos temas, sino lo monótono que lo hace es el error. Temas como American o Body Electric carecen de algo especial, tanto musical como líricamente, son realmente aburridos. Por supuesto hay excepciones, Yayo tiene una grandiosa lírica, y la línea ''that's the way my father made his life in art'' de la grandiosa Ride es sencillamente magnífica. Otra línea que llama la atención es el primer verso de Cola, ''my **** taste like a Pepsi Cola'', es sin duda uno de los aspectos que más sobresalen en el álbum, y no porque sea una línea espectacular, todo lo contrario. Lo que la hace sobresalir es la manera en que se implementa en el oído del oyente de manera muy inteligente. Otros aspectos sobresalientes son algunas líneas en Gods & Monsters. Pero en su mayoría, retomando lo anterior, es lo aburrido que llega a ser líricamente a excepción de lo antes mencionado. Vocalmente, Del Rey se caracteriza por jugar con su voz, aunque a veces suena realmente irritante o fuera de tono. Aunque este realmente es uno de los aspectos más sobresalientes. La mejor interpretación vocal del álbum es Yayo, pero el abrumador puente de Cola es uno, o quizá el mejor momento vocal del álbum con esos maravillosos falsettos. Otros puntos importantes son las armonías en Bel Air. En general, es un EP muy predecible y continuista, Del Rey no ofrece nada nuevo. Aunque hay aspectos resaltantes, todos estos se hacen escasos cuando oyes el EP completamente. Vocales a veces interesantes, producción sin vida y letras clichés es en resumen lo que significa Paradise. El mejor tema del EP es sin duda el que le da comienzo, Ride. Me atrevería a decir que Ride es una de las mejores piezas musicales de esta década. Si Paradise fuera como Ride, la historia fuera diferente.

    Mejor track: Ride
    Peor track: American
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  4. Apr 30, 2017
    5
    Del Rey is far from a great singer, and her songs tend to drag. But her shtick--1950s torch balladry spiced with sexed-up 21st-century provocation--is at least conceptually sharp.
  5. Jul 29, 2014
    6
    Two extremes coexist in this EP: sublime ballads like Ride and American, and disgusting and extremely complicated tracks that don't have a clear purpose in the whole package. The result? A large plethora containing everything and -at the same time- nothing.
  6. Jul 10, 2014
    6
    Mmm.. no está mal, no es para tirar cohetes pero tiene alguna canción con melodías que enganchan. Pero no todas... algunas son demasiado repetitivas o simples.
  7. Dec 8, 2013
    5
    I bought her album Born to Die with high hopes. I was not let down. I bought Paradise, and I was let down. All of the songs sound the same, and there is nothing exciting about it. I love Lana, but this is definitely not her at her best.
  8. Nov 17, 2013
    6
    Paradise is a very cohesive album and is well conceived and executed to Lana’s general standards. It is however evident that the general basisis for this album is her desire for the good-ol’ days of American culture. Ironically her wishy-washy slick pop approach makes me think that if this is what America was than it is wonderful that it has evolved.
  9. Nov 16, 2012
    6
    'Born To Die' was probably one of the most misinterpreted albums of 2012. Lana's 'Paradise EP' fares slightly better judgment, due to the brilliant productions of the songs and beautiful trademark vocals. 'Paradise' features longer, more swooping ballads than on 'Born To Die', which Lana wallows in. Although the lyrics are still reasonably questionable, the overall production of the album'Born To Die' was probably one of the most misinterpreted albums of 2012. Lana's 'Paradise EP' fares slightly better judgment, due to the brilliant productions of the songs and beautiful trademark vocals. 'Paradise' features longer, more swooping ballads than on 'Born To Die', which Lana wallows in. Although the lyrics are still reasonably questionable, the overall production of the album is much more cohesive than 'Born To Die'. Lana's vocals sound more rich; there's actual emotion to be felt in the songs this time. Although lengthy, the songs create the sense of Hollywood sadcore and the depressing reality of the American Dream that she is aiming for. Expand
  10. Nov 15, 2012
    5
    Lizzy Grant aka Lana Del Rey has come out with her sophomore effort of an album under a professional label. Instead of working with a real producer she worked with film scorer Rick Rubin who produced the album. With that I say the album is a pleasant change from the recycled production of Born To Die however lacked diversity. When the instrumentals overpower and more interesting than whatLizzy Grant aka Lana Del Rey has come out with her sophomore effort of an album under a professional label. Instead of working with a real producer she worked with film scorer Rick Rubin who produced the album. With that I say the album is a pleasant change from the recycled production of Born To Die however lacked diversity. When the instrumentals overpower and more interesting than what you are singing, it shows that your lyrics are not as powerful and with Lana it was just that. Her voice lacked range and diversity and she sound monotone in all of her songs. If you do decide to buy it and had to buy two songs i would suggest Cola for the iconic beginning line of where she refers to her vagina as tasting like Pepsi cola and Blue Velvet a remake of the timeless fifties song which she actually perfects. Expand
  11. Nov 15, 2012
    6
    Very draggy album, once you hear curse words it sparks the album up a little bit. Very good nonetheless. I thought we'd see a much diffident side from her but we still go slow low notes.
Metascore
64

Generally favorable reviews - based on 9 Critics

Critic score distribution:
  1. Positive: 5 out of 9
  2. Negative: 0 out of 9
  1. Jan 2, 2013
    70
    Born to Die's highlights are both slightly more numerous and slightly more effective--but it's still a very strong, successful record, whether taken as an addition or a follow-up.
  2. Entertainment Weekly
    Nov 21, 2012
    67
    Though she makes a few knowingly meta nods to her own rep, Paradise leans too hard on the same tired drowsy-Lolita poses. [23 Nov 2012, p.70]
  3. 70
    Once you accept that Lana knows exactly what she's doing--that she, not Interscope Records or any of her co-producers, is the architect behind this R-rated retro-pop fantasy--then maybe you'll start loving her, too.