Many reviews of Lana Del Rey’s “Born to Die” have been released already, and they seem to focus on whether or not she’s a true indie songstress or a just label-created pop product. I, however, think she can be a fusion of the two, as not all pop has to be dance-y Britney beats and ballads. Lana Del Rey’s brand of pop instead recalls earlier times. She also has the backing of a major label, so, in that sense, she isn’t indie.

All of Del Rey’s songs have the right mix of her sultry voice, decadent lyrics and wonderful production. “Born to Die” is a decidedly American celebration of excess; Del Rey is a sort of Daisy Buchanan-incarnate. Many have unfairly criticized her lyrics for their shallow, material desire, yet albums from rappers like Kanye West and Drake escape this criticism, despite similar content. I’m not ready to call this sexism, but I will call it unwarranted. Some have called her lyrics clichéd, but when she references the Hamptons or Bacardi, it’s refreshing to hear declarations of wealth that don’t inspire a quick Google search.

The tracks released on the Internet before the album dropped still rank among her best, but the new ones are worth a spin (or several) as well. Special edition bonus track “Lucky Ones” sounds almost like a slowed-down riff on Lily Allen’s “Chinese,” with a dash of dreary. Her catchiest song is “National Anthem,” designed for summer drives to the beach while blaring out lyrics like “Money is the anthem…God you’re so handsome.” A swaying beat and Del Rey’s breathy voice makes “Million Dollar Man” sound more like a cover of a Patsy Cline standard than a song from 2011. Best in show is “Dark Paradise,” which might sound like the titular “Born to Die,” but the song’s theme of fear of loss gives it an extra dimension. The album isn’t perfect, but almost every song grows on you, regardless of the first impression—and really, isn’t that how music should be?