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Last year, she received public backlash for posting a note on Instagram called “A Question for the Culture,” in which she openly questioned why musicians of color such as Doja Cat, Beyonce and Cardi B are lauded for releasing “racy” and “sexy” music, but she receives hate when she tries to do it. She sings, “There we were, screaming Black Lives Matter in the crowd.” It’s worth noting the controversial context that surrounds this choice on Del Rey’s part.
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It proves for the first time since the single “Looking for America,” Del Rey can serve her fans the aesthetic they have come to love her for while discussing modern-day society.ĭel Rey also sings about the Black Lives Matter movement, on “Textbook,” a song that serves as a track full of self-reflection in a time of activism and social change. While the sounds of her past releases have transported listeners to the ’50s, ’60s and ’70s, this album takes place in the present day and is clearly a central theme. This can be seen the most in the track “Black Bathing Suit,” where she begins with the lyrics “Grenadine, quarantine/I like you a lot/It’s LA, hey on Zoom, Target parking lot.” With lyrics in the song “Blue Banisters,” like “There’s a man that’s still right there, he’s real enough to touch/In my darkest nights, he’s shinin’,” it exemplifies the Lana-ism that a bad girl is saved by her moody ’70s bad boy knight in shining armor.īut now, there is an added twist of the album being created under the conditions of the COVID-19 pandemic. Longtime fans of Del Rey may recognize the themes that are constant throughout her discography dreamy references to Los Angeles, the realities and romanticization of toxic relationships, her “bad girl” reputation, and the daydreams of falling in love with older men riding motorcycles. Now, though, she updates her sound with an element of edge and pain that we’ve yet to see from her.
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This lyric adds a spiritual, almost extraterrestrial element to the song reminiscent of the psychedelic rock sounds that dominated her 2014 album “Ultraviolence” on songs like “Florida Kilos” or the titular track. We see a more angry, enraged version of Del Rey in this track, but we also see the aesthetic retro-dream girl elements fans know her for at the same time, as seen in the lyric “All circuits are busy, goodbye, all circuits are busy, you’re high.”
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Kane’s inclusion on this track plus the production from Zachary Dawes - bassist for the Last Shadow Puppets - throughout the entire album adds to the sounds that make it feel as though you have been teleported to a ’50s hotel lounge performance.
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This agony-filled chorus marks a first for Del Rey, as fans can finally see the true range the songstress possesses with her voice.ĭel Rey is joined by English singer Miles Kane on the track, whose past experience in the lounge-esque, boozy-vocalled group Last Shadow Puppets shines through as he croons lines such as “I can’t sleep through the tears, I get lost in the ether.” Starting with the standout track of the album “Dealer,” we see a different side of Del Rey’s musical stylings as she strays away from the soft-spoken lounge singer archetype she usually embodies in her work.Īs the chorus picks up, Lana joins the track as she belts the lyric “I don’t want to live,” as the sounds of pain and true aggression radiate in her voice. Lana Del Rey returned to her songwriting roots reminiscent of her earlier days while experimenting with her constantly evolving sound, in “Blue Banisters,” the follow-up to March 2021’s “Chemtrails over the Country Club.”įollowing a disappointing fan reception with “Chemtrails Over the Country Club,” “Blue Banisters” feels like both a love letter to her dedicated fans as well as a dreamy retelling of the COVID-19 pandemic through the eyes of a lover of the city of Los Angeles.