It seems recently Lana del Rey (otherwise known as Elizabeth Grant in the ‘real’ world) is completely inescapable. Love her, hate her, don’t even know her; we’ve all found ourselves slumped into a sofa at some point, watching her warble nervously on some late night chat-show or another, as she performs viral sensation of the summer 'Video Games', which has single-handedly catapulted her into the spotlight. So for all us confused listeners, all we really want to know is whether there’s more of this fluttering orchestral pop to follow.

Title track ‘Born to Die’ is stately, blood-stained and still cleverly conceives a Kate Bush/Nancy Sinatra vocal love child. Del Rey’s lusciously imperious voice charms its way through otherwise uncomfortably lyricized tracks such as ‘Blue Jeans’.

So what is it that parts Del Ray from the petite pop starlet that we’ve pre-conceived her to be? Turn your back on those endless discussions regarding surgical escapades and stereotypical film-style childhood – Del Rey was sent off to boarding school after getting involved with drugs at the age of 15- and you will see how much of a fascinating starlet Del Rey is. Ignore those appalling live performances and just listen. Born to Die really is the beautiful pop album Del Rey proclaimed it to be. Maybe she was the ‘poor little rich girl’, but that's not to say it hasn’t largely shaped her gritty sugar-rush pop sound, particularly as she lives the trashy, drug-fuelled high life in tracks like ‘Off to the races’ and album apotheosis ‘National Anthem’ where Del Rey awkwardly raps a ‘swaggering’ chorus and teaches us "money is the reason we exist." Perhaps it is the least favourable album track and yet regardless of the forced annoyance I suppose would be called ‘rap’, there’s actually something utterly patriotic, devouring and quite frankly intelligent about the extremely catchy pop melodies. This is what makes her a pop starlet.

Born To Die isn’t flawless, but when a debut has 15 tracks, we’re always going to find something which musically we disagree with, be it the constant dichotomy or the relentless reminders of her middle-class upbringing. Nonetheless, Del Rey successfully ranges the album. We’re listening to the same voice, but most definitely not the same track. From the sentimental anthem of ‘This Is What Makes Us Girls’ to gothic melodramas of ‘Dark Paradise’, all bases are covered, just like they should be on a debut pop album. Ignoring impending ignorance is the real challenge we face. Forget what you used to think about Lana Del Rey, Born To Die provides more than anything you could ever expect from an internet sensation.