However, those looking for an album’s worth of Born To Die bonus tracks are going to leave bewildered and disappointed. The songs here may follow the general motifs of Lana Del Rey’s studio work, but the sound and mood of Lana Del Ray a.k.a. Lizzy Grant is more chilled out and laid back than the sweeping opulence we've been exposed to. This is more of a soundtrack for trailer parks and lonely nighttime walks, and less of an exercise in excess for Baz Luhrmann. Grand orchestration is almost completely absent, giving way instead to acoustic guitars, pianos, and the occasional synths. It’s disarming, to say the least, given the stylistic consistency of her more official work.
But if you can appreciate Lana Del Ray a.k.a. Lizzy Grant on its own terms, it’s hard not to enjoy the discordant exuberance of tracks like “Mermaid Motel,” or the relaxed sensuality of “Oh Say Can You See,” or the dreamlike glow of “Yayo” (the version here being far superior to its breathy Paradise counterpart). What we have here is a stripped down, creative record that presents to us a Lana Del Rey who, while less embellished, is no less magnificent.