The introspection continues on the ninth opus of the American singer, but not only, because she still sings the tragedy of the American dream as well.
Let’s say it upfront, Lana Del Rey is our favorite singer. Another secret: we mostly listen to American underground rap. The sounds are not very similar – although Lana has already collaborated with A$AP Rocky and Playboi Carti – but there are similarities in the subject – in addition to the trap rhythms that occasionally return on her albums, including this one. In their own way, both Lana and the rappers portray aspects of their life in the United States in a rather raw way, which is at the same time a reflection of their country. We are unquestionably the product of our environment.
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For us, Lana Del Rey represents a tragic, increasingly melancholy version of the American Dream. At first glance, it is perfect and reachable, but when you dig deeper, it tortures and escapes. The character of the prolific Elizabeth Grant has evolved over the years. His naivety, his great joys and his heavy sorrows of the first albums have quietly given way to introspection and a certain wisdom.
The title track refers to the Jergins tunnel, which, before its closure in 1967, allowed pedestrians to pass under the boulevard to get to the beach. She mentions its beautiful mosaics and painted tiles. Beauty has been hidden by “walls made by men”. The author then wonders when her turn will come, if her beauty will also be forgotten. Thus, she later sings: Fuck me to death, love me until I love myself. Self-esteem, or rather its lack, is a recurring theme in the work of the artist who has been recording since 2005.
For a few albums, and even more on this last one, Lana seems to take refuge with her relatives to find this love. The Grants, the first of 16 songs, is named after his family and evokes their fond memories. Fingertips’ beautiful rambling poetry recounts experiences with loved ones.
The piano and the strings, generally soft and vaporous, form the canvas that we hear from Norman Fucking Rockwell. No wonder when we see that Jack Antonoff and Drew Erickson again sign the majority of the compositions. This same Antonoff sings with his group Bleachers on Margaret, a love letter to his fiancée, actress Margaret Qualley. Father John Misty is the other notable guest, on Let The Light In, a nice song even if it’s about adultery.
Although her poetry can be very powerful, it is the mood that Lana Del Rey creates that makes her unique. We will certainly be at the Festival d’été de Québec on July 15, where the singer will be present, because it is surrounded by her fans that we really feel her vibe.
