It’s a reprieve from the lineup of ballads, and on it, she calls out fans like myself for our attachment to her early “sad girl” persona. On “Sweet,” another ballad with a similar progression to the opening verse of “Ride,” Lana asks her lover if they will commit to an average life with her: “Do you want children / Do you wanna marry me? / Do you wanna run marathons in Long Beach by the sea?” However, she contradicts this theme in the titular track - “love me until I love myself,” she sings, struggling to find her true feelings in both songs.Īlongside my favorite track “A&W,” the slow synth of “Fishtail” stands out. Her introspectiveness continues with her relationship with love. In “ Grandfather please stand on the shoulders of my father while he’s deep-sea fishing” - it’s not a Lana project unless you can’t read the entire title on your phone - she seems to plead for guidance from the men in her life. This sentiment is shared in similar ballads like “Kintsugi,” a bittersweet reflection on mortality and the time she’s lost with family members who’ve died. With lyrics like “I’m gonna take mine of you with me,” she takes us back to the golden days with her loved ones, choosing to preserve the joy she felt with them in her memories. The opening track “The Grants” is a church sermon piano ballad ode to her family reminiscent of the work on her 2019 album Norman Fucking Rockwell. It’s Lana at her most authentic and personal, allowing her fans a look into her inner thoughts as Elizabeth Grant. The album is less a collection of songs and more a reading of diary entries to a backing piano. With the Friday release of her new album Did You Know That There’s a Tunnel Under Ocean Blvd, this wasn’t the case, but her refusal to return to the past is what makes this one of her strongest albums. I couldn’t believe it - was the old Lana coming back? This was how I felt at least until the February release of the song “A&W.” By its seven-minute mark, the single turns into an 808 drum-filled pop song that belongs in Born to Die. The persona of flower crown Southern California Lana Del Rey seemed as good as dead. The Jack Antonoff piano ballads and monotonous singing didn’t pull me in the way classic 2012 songs like “Ride” and “Summertime Sadness” had. Once her indie sad-girl Tumblr era died, I couldn’t bring myself to listen to her new music. I hadn’t thought about a Lana Del Rey album in years.
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