C+
I know Ultraviolence came out forever ago but I have a good excuse as to why I’m reviewing it so late. I feel like this album needed distance.
From the first time I listened to it to the subsequent times I listened, I felt I needed to give myself time and then revisit it. Ultraviolence feels somehow heavier than previous releases but considerably less layered. Sounding very much unlike her contemporaries, Lizzie Grant takes the road less travelled on this release, finally succumbing to her ‘Gangster Nancy Sinatra’ alter ego.
Ultraviolence opens up with the decidedly 90s sounding guitar riff of ‘Cruel World’. Sparse instrumentals coupled with her expansive vocals make this a decent enough opening track. Produced by Dan Auerbach of Black Keys fame, this track and others have a stripped back quality to them but feel somehow fuller than her previous releases. Title track ‘Ultraviolence’ feels languid and drawn out (despite only been a 4 minute song) but is one of the most catchy on the album.
Grant moves mournfully in the irony laden ‘Brooklyn Baby’ in which she sings about Brooklyn, rare record collections, hair feathers, and beat poetry. Despite how good the song itself is, the lyrics feel overwrought and a bit try-hardy. ‘West Coast’ is immaculately executed and demonstrates the perfect marriage between vocals and instrumentals.
At this point in the album it becomes apparent that the tracks are too similar and her vocal range too lacking for this to be a great album. It is unclear whether her lyrics covey an inherent weakness or subtle strength in her with lyrics like “I'll wait for you, babe/ It's all I do, babe/ Don't come through, babe/You never do”.
‘Money, Power, Glory’ and ‘Fucked My Way To the Top’ are standouts, musically and intriguing lyrically. Likely the most interesting sounding track on the album is ‘Florida Kilos’ as it recalls her previous albums with perhaps a hint of solo Gwen Stefani..
The contention surrounding this particular Lizzie Grant release is understandable. With the deluxe edition clocking in at 14 tracks and 65 minutes many of the songs feel too similar and too long. While some songs are genuinely catchy and intriguing, her voice and limited vocal capabilities collapse under the heaviness and drawn out nature of the release. While this may be Lizzie Grant “coming into her own as an artist”, this release feels boring and contrived at times and half-hearted at other points.
