The surprising beauty in the mundane - the Paris, Texases or the Florence, Alabamas of the world - represents a healing escape. “I’m in the mountains / I’m probably running away from the feelings I get,” she confesses on “Kintsugi.”Īs in the folk spirit of her sixth album, “Chemtrails Over the Country Club,” religious themes including light and godly signals of transformation materialize throughout the album, with a spoken-word interlude from Judah Smith, a pastor, making a dramatic appearance. Thematically, the album embraces a similar, more intimate promise: exploring the possibilities of retreating from the self-delusions of coastal city relationships into some semblance of normalcy. However, much of the album, which was released March 24, also feels more insular and haunting than the lush, cinematic production on some of her previous albums, including “Norman Fucking Rockwell!” and “Ultraviolence.” The introduction to Lana’s first verse in “The Grants” sounds like a thunderstorm breaking on a lonely horizon, and the anchoring piano wavers into dissonance in “Candy Necklace,” taking on a breathy, delicate quality. It spans genres from psychedelic rock to folk to trap, sprinkling in classic Lana-isms from “Your mom called, I told her, you’re fucking up big time” to “If you want some basic bitch / go to the Beverly Center and find her.” Since her debut over 10 years ago, Del Rey’s wild, nihilistic glamour has exposed the oppressive cultural prisms of white America through the lenses of iconography through songs including California, White Mustang, Art Deco, Guns and Roses, Blue Jeans and Brooklyn Baby.ĭel Rey’s most recent album, titled “Did You Know That There’s a Tunnel Under Ocean Blvd” (DYKTTATUOB), represents more of that revelatory drama, hearkening back to the greatest hits of her playbook. pop culture references over decades, shredding toxic relationships detail by detail and exploring the intimate bonds between violence and love. Lana Del Rey’s best albums unfold boundlessly: gathering U.S.
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