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In the first verse, I sing ' there's something in the wind, I can feel it blowing in', and in the second verse I sing that it’s ' on the wings of a song'. First of all, that something has to change in the world. When asked what the song was about in an interview for Swedish magazine BON, Del Rey explained that it was written about "feeling like you have to change on many different levels. With this limited time, the song could only be mainly composed of vocals and piano. They began recording the song at 8:00 p.m. Writing and recording ĭel Rey's producer Rick Nowels stated that "Change" was recorded a day before the album had to be completed and sent to the record label. On July 15, days before the release of Lust for Life, Del Rey posted two more videos of the song on her Instagram profile. In an interview with BBC Radio 1 on July 12, 2017, Del Rey stated that "Change" was the last song written for Lust for Life. The title "Change" was confirmed by copyright infringement claims that certain fans received after uploading the snippets of the song to platforms such as YouTube and SoundCloud. Two days later on the June 11, she uploaded two more snippets of the song onto her Instagram account. “And I still get trashed, darling, when I hear your tunes,” Del Rey sings in ‘Terrence Loves You’ from her new album Honeymoon “I hate my alcoholic logic As I write this on the train Victoria's Secret in my bag, and my thighs ache again,” relays a regretful Amy Winehouse in ‘Alcoholic Logic’.On June 9, 2017, Del Rey uploaded a video of herself listening to the song on Instagram with the caption "Change" and the location "The End of the World, Venice, LA". Closely related, are some self-destructive behaviours displayed in some songs, with alcoholism being a common theme.

From Dusty Springfield’s admission, “No matter how you hurt me, I'll always be your fool”, to The Exciters’ messed-up disclosure: “He makes me do things I don’t want to do… He’s got the power, the power of love over me”, stories of women who just can’t help falling for men who treat them badly is a familiar story in torch songs.

The exact line is borrowed by Del Rey in ‘Ultraviolence’, where she also calls her lover her “cult leader,” such is the hypnotic hold he has over her. Many of the relationships we hear about in torch songs are not just your simple case of heartbreak, but are toxic, codependent scenarios, epitomised by The Crystals’ twisted confessional ‘He Hit Me (And It Felt Like a Kiss)’.