“We both know that it’s not fashionable to love me, but you don’t go cause there’s truly nobody for you but me…” are the opening lyrics to “Honeymoon” on the namesake album by two-time Grammy nominee, 2012 GQ Woman of the Year , and former Fordham Rose Hill student, Lana Del Rey. The beloved multi-genre songstress released her fourth studio album Friday, Sept. 18 to critics and fans with bated breath. Everyone wants to hear what Lana has to say about life; and rumor has it, she’s changed. I’m not a die-hard Lana fan, but it doesn’t take one to pick up on her more frequent use of optimistic buzz words like “joy” and “love,” or even notice her latest tunes are actually slower than usual.

The world is quite familiar with Lana’s voice. After all, this is her fourth album in a career that is going on 10 years. She’s built a dedicated following of Lanatics, but thanks to her hits “Summertime Sadness” and “Young and Beautiful,” she’s easily become a staple on mainstream radio stations.

“Honeymoon” has 14 tracks, each revealing myriad nuances of Lana’s soul which has arguably become less depressing, but no less mysterious. On her second studio album, “Born to Die” (2012), we heard her pine away for someone who didn’t seem to hesitate leaving her, as described in “Dark Paradise” and “Blue Jeans.” On her third studio album, “Ultraviolence” (2014), she sings about the torture of sharing her heart with someone whose own was inaccessible in songs like “Shades of Cool” and “Ultraviolence”. But with “Honeymoon”, the themes are more optimistic. “Freak” and “Music To Watch Boys To” are–dare I say–romantic! You can argue the merits of romance on some of Lana’s other albums, but we know lust and love aren’t the same thing. With “Honeymoon”, there’s definitely a sense of Eros. Some of her fans say this album is finally a breakaway from her usual blues. Some critics think it’s just as depressing as the rest. Personally, I can level with both: there’s a hope in “Honeymoon” that we did not hear in years past.