Written by Tom Bedding
Lana Del Rey has reached the heights that some claimed she already had, in recent years. With 'NFR' and 'Chemtrails' showcasing how far she has become as a songwriter and as an artist, the ambition of releasing two albums in a year was always going to be risky. Indeed, this album does slump badly but there are still some classy and shining moments on the seventh studio album by everyones favourite Miss America.
Lana’s latest offering starts in fine form with ‘Text Book’, which truly does sound like it could have been a Bond theme idea? Here we have the singer signing about an ex-boyfriend and potentially looking for a father figure, something that is often spoken about due to so many of her lyrics being about older men. There is such a smooth quality to the opening song, with some subtle guitars that really sounds like that ‘bond guitar’ tone, which reinforces that potential theory regarding the songs origins. The chorus is lovely as Lana sings ‘you’ve got a thunderbird, my daddy had one too’... its a perfect Lana Del Rey opening song in all honesty.
Sadly the suggestion that these collection of songs could have been leftovers from the artists last two records, could be somewhat true as the record dips in quality frequently. This starts on the next track, ‘Blue Banisters’, which feels very throw-away and filled with basic traits that is found in Lana’s earlier music.
Granted it's only been since ‘Norman Fucking Rockwell’ that I have truly given this infamous artist time and attention but I am wary that she can potentially fall into some bad habits, which happens here. The almost talking vocal delivery does not have much charisma to it and the instrumentation feels like it’s simply going through the motions.
The lyrics found on ‘Arcadia’ come from a poem that was written in a motel, after a breakup with an ex…unsurprisingly. This lovely sounding song has a wonderful vocal delivery by Lana Del Rey and the horn that is found within the mix, touches the song with such grace and feels so splendid whenever it is reintroduced. ‘All roads that lead to you as integral to me as arteries, that pump with blood that flows straight to the heart of me’ is sung with a lot of emotion at the start of the chorus, it feels passionate and so in the moment, that it takes you instantly to a dramatic heartache scene in a classic film.
credit: Lana Del Ray
Who knows why we enter a Red Dead and trap beat interlude on ‘Interlude-the trio’, it generally makes no sense but for some reason you gotta appreciate the bizarre and clueless nature of this cut. Then we move onto birds tweeting softly on the very ‘Chemtrails’ song, ‘Black Bathing Suit’.
The lyrics ‘If this is the end…then I want a boyfriend’ was teased by the singer in the lead up to her previous album, which leaves this track in a space of feeling like a leftover from that very impressive album, that come out earlier this year. Lana is captivating on this song don’t get me wrong but the way we navigate from the verses to the chorus, it just feels like we have walked these steps before.
‘If You Lie Down With Me’ takes this middle chunk of ‘Blue Banisters’ to almost frustrating places, as it feels like we are returning to pre-2019 with the artist. Everything feels so expected; the way we are introduced to the acoustic guitar and then the double tracking of the vocals, it feels very sticky and disappointing with its somber mood and straight forward intentions. This standard then continues on ‘Beautiful’, which again feels unsurprising at places and the piano playing is trying to get through in an uncomfortable melody that should not of made this album.
‘Violets for Roses’ brings things back on track though, while referencing the return to normal life with masks coming off and book stores opening (yay). The way everything flows so magically into the chorus and how Lana conducts herself during it, is so impeccable and shows off how impressive this singer can be at times.
As mentioned, the standards of everything goes up and down and ‘Dealer’ is a very unpleasant down. Miles Kane features on the track, who feels as creepy and stingy as Trump’s evil smirk. The duo are a fine fit but the slurry presentation of the song is very uncomfortable, it drags on for a lifetime and does not sit well at any point. I feel so sorry for everyone who had to witness this song being tracked, the awkwardness in the room must of been unbearable.
‘Thunder’ fortunately comes along with more pride and quality, gracing us with a simple piano part before a wonderful introduction to the rest of the ‘band’. There is such smoothness again here, with Lana Del Ray sounding so mesmerising and beautiful. Though this turbulent last half of the LP returns to its low points on ‘Wildfire Wildfire’, which does not offer much and is rather unforgettable. But then on the cooly named ‘Nectar of the Gods’, Lana offers a slight twist sonically as the acoustic guitar shines so brightly on this cut.
Following on from there we are sucked in by the hums of Lana Del Rey on the decent cut that is, ‘Living Legend’. The piano and the vocals fit so perfectly well on this song, Lana’s lower vocal delivery is dreamy and the classy tones of this number is really top notch at points.
After the okay-ish ‘Cherry Blossom’, which only has the singer sing in a slight theatrical way, we have the solid closer called ‘Sweet Carolina’. It feels so warm with its instrumentation and Del Rey’s higher vocal execution, which she nails every time. The lyrics do touch on love but there seem's to be references to the name of Elon Musk and Grimes’ baby, which could be a really fun fan theory to dive into. It has to be said, the closer does save a very patchy second half to the record and despite feeling like there are some throw away songs on ‘Blue Banisters’, the album does feature some highly impressive songwriting and overall artistry.
Bring Me The Music Recommended Tracks: Text Book, Arcadia and Thunder