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The track also samples melodies from her previous album, specifically the songs “ Love song” and “ How to disappear," tightening the knot between the two works. On the album standout “ Wild At Heart," Del Rey sings about her relationship with stardom and the exhilaration of escapism. But, the singer remains no less committed to her vision, further delving into the depths of her experience in love and fame.ĭel Rey is very much aware of the crippling effects of fame, as she laments in “ Dark But Just a Game." In her lyrics, she said, “The best ones lost their minds/So I’m not gonna change/I’ll stay the same.” Her recent statements about the diversity in her album cover have reignited the dispute, a salient one to be had if Del Rey wishes to learn and grow in her pursuit to be more inclusive. In a letter she posted to Instagram last year, she addressed critics who accused her of glamorizing abuse in her music, but her argument got lost in the backlash she received from solely citing women of color to defend her narrative.
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She gives a shoutout to her most recent muse in the song “ Tulsa Jesus Freak,” using religion to depict the eternal passion between her and her lover.Ĭhanneling the dark, broodiness of “ Ultraviolence,” she requests to be sung like a Bible hymn and repeats, “We’re white-hot forever and only God knows.”ĭel Rey’s imagery of American womanhood has long persisted in her music, which leaves a bitter taste when paired with her recent controversial statements.
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She exchanges the usual sunny skies of California for a venture through the Southern states of Florida, Louisiana, Nebraska and Oklahoma. In this particular project, the stories and settings are rather more intriguing. Her discography can be classified as largely uniform, with the singer refining her melancholic pop sound rather than upending it. The music builds up toward the end of the song with a stream of layered vocals and then fades into a solo drum beat.ĭel Rey is known for her staple artistic fetishes. The follow up to the opener, the title track, maintains a swaying tune that centers on the mundanity of American suburbia and is redolent of the sound in “Norman Fucking Rockwell!”ĭel Rey evokes a state of peaceful indifference while insisting that she is neither unhinged nor unhappy, but wild. She sings in a raspy, high register against a subtle production, glorifying a time pre-fame that she asserts she would go back and relive - because she felt like "a God." Del Rey opens the album with “ White Dress,” in which she reminisces about the time before she was famous: 19-years-old and waiting tables. Many of the songs are melodically stripped down with moments of vocal experimentation. In this album, produced by pop music’s frontman Jack Antonoff, Del Rey adopts an introspective approach, sharing her views on fame and her place in the musical landscape. The consensus? Most agree that it's a dumbed-down continuation of her 2019 hit release, “ Norman Fucking Rockwell! " In mid-March, Lana Del Rey dropped her sixth studio album, “ Chemtrails Over the Country Club.