I always felt that Music To Watch Boys To felt like the natural sequel to one of my favourite songs on Born To Die – This Is What Makes Us Girls – a track that I really connected with. The references to Blue Ribbon on ice, the narrative of Lana with her girlfriends, the cinematic summer sound. Remember the version that Dior used for their show back in 2011 of TIMUG? The dream.

MTWBT is certainly one of the standout tracks on Honeymoon – it has luscious and thick production – thank you Rick Nowels and Kieron Menzies and lyrically so unbelievably poetic, so I think the entire world had big expectations for an equally enigmatic video to accompany and holy shit it happened.

Directed by Kinga Burza, the video sees a familiar Lana – almost a caricature of everything she has stood for to date – the floral details, the flowing locks of hair, the cinematic wonderment. It has a dark and slow motion stylistic tone that is essentially portrait art meets conceptual reality painting a literally and surreal image of the track. The highlight is Lana, through and through – High By The Beach saw a more solemn vision of the deity whereas Music really sees a softer and more playful side that we last experienced in videos like Carmen and even early Lizzie Grant unreleased material. It is a beautiful piece of visual art that sits alongside the song in the most wonderful way. Also, who doesn’t want a West Coast tattoo across the back of their neck?

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Lana Del Rey is a genius (this is a known fact). The track name alone for the second release from Honeymoon (following the beautifully constructed introduction to the era via the title track) alone competes creatively with the likes of Bitch Better Have My Money, and the artwork and the entire construct of what Honeymoon stands for has been rather perfect. I am so excited for this era – granted I am a huge Lana supporter but seriously I feel like there is a void in music that needs to be filled right now and Honeymoon could well do this. The track drops on 10 August, the image above is by Chuck Grant. Five days, five days.

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