![]() Respect it.” Phew!Ī post shared by Lana Del Rey also want to say that with everything going on this year! And no this was not intended-these are my best friends, since you are asking today. In fact, Del Rey goes wide enough to conclude with the lines: “I’m not the one storming the capital, I’m literally changing the world by putting my life and thoughts and love out there on the table 24 seven. In an interesting nod to the plot of Christopher Nolan’s Tenet, the singer also penned an Instagram comment in which she attempts to reverse the flow of the internet’s entropy and defend Chemtrails’ cover art against any and all future criticisms that could be leveled at it, including, seemingly, that her inclusion of women of color could be seen as an attempt to counteract her bad press from this spring. On Sunday, Lana Del Rey dropped the cover art and track list for her highly anticipated upcoming album Chemtrails Over the Country Club, which will include songs like “Tulsa Jesus Freak” and “Not All Who Wander Are Lost,” as well as the EP’s previously revealed single, “Let Me Love You Like a Woman,” which premiered this past fall. Del Rey is too scared to devote her time to experimentation, only offering hints of what could have been-trap beats, powerhouse vocals, new instrumentation, and a new sound for her.Photo: NBC/NBCU Photo Bank via Getty Images Instead, including these hints at breaking away from her established sound just feels like she’s wasting time.īlue Banisters is an album caught between missed opportunities and some truly incredible songwriting. It’s as if Del Rey thinks her voice won’t work with the more untraditionally “Lana” aspects of the album. There’s also the one-minute “Interlude – The Trio,” which implements a completely out of place trap beat and no vocals. ![]() This section has so much potential to be the backbone for a radically different song for her, but it’s tucked away at the end of a track instead. For instance, “Living Legend” features Del Rey belting a wailing outro that sounds so radically different from everything else. Throughout the album, she recedes into her comfort zone with quiet piano tracks littering the album which, unfortunately, trap her rather than challenge her already established style.Įverytime Del Rey hints at wanting to go in a new direction, she does it after the main song has already neared its end. The one aspect lagging behind is Del Rey’s instrumentation. Although screaming vocals don’t really fit within Del Rey’s signature style, she dips into this section and it disappears just as fast as it shows up. Notably, “Dealer” has a moment where Del Rey forgoes her soft falsetto and instead devolves into a scream-but just for a moment. In the past, Del Rey has had moments where her vocal delivery is muddled and difficult to understand, like during parts of “Venice Bitch” on her 2019 album Norman F-king Rockwell!, but her vocals shine through with clarity and vocal precision throughout Blue Banisters. Her soft voice really fits her muted music style. The line “Comfortably numb, but with lithium came poetry” on “Wildflower Wildfire” is a powerful reference to her inspirations and how she channels her pain into art.ĭel Rey’s voice is as beautiful as ever for the most part. Connections like this make the album a really engaging listen. The songs are woven together through color, telling a larger story of sadness overshadowing these relationships. Del Rey, who abandons the blue flowers on “Violets for Roses”-a metaphor for changing oneself in a relationship-hurts all the more knowing that this change was for nothing, as her plans to paint her banisters blue on Blue Banisters disappear once the relationship has ended. At times she creates powerful impacts through her lyrics, which subtly weave together many of her songs on this album. While March’s Chemtrails over the Country Club brought a new folksy sound to Lana Del Rey’s music, on Blue Banisters her music appears to be a return to reflective alternative pop, for better or worse.ĭel Rey’s lyrics on Blue Banisters dash between heartbreaking power and tone-deaf missed opportunities.
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