MUSICIAN Lana Del Rey, best known for her soft grunge and enigmatic pop music, has been referred to as one of the most remarkable songwriters of our age ever since she released her breakthrough album Born to Die in 2012.
The fact that the majority of her songs depict tales of dark, melancholy, nostalgic American glamour, yearning for a turbulent time with glimpses of a rebellious and toxic love affair, makes her even more unique, since barely any artistes were focused on expressing those themes.
For a long time, that’s how many of her fans and music enthusiasts used to characterise Lana Del Rey, but since the release of her critically acclaimed album Norman F***ing Rockwell! in 2019, and Blue Banisters in 2021, she has taken a more commanding role in expressing her true self.
With the recent release of her ninth studio album titled Did You Know That There’s A Tunnel Under Ocean Blvd?, Del Rey delves deeply into her fears, future and feelings rather than fantasising about things that are not hers to dream about. The singer-songwriter this time explores these topics with a more nuance understanding of her family’s history and religious heritage.
Del Rey also showcases her poetic flair as she revisits the themes of Americana and heartbreak that were prominent in her earlier pop-oriented albums. The album’s expertly crafted acoustic soundscape gives Del Rey’s melodies more depth while letting her carefully crafted lyrics take centre stage.
Lana Del Rey, whose real name is Elizabeth Grant, opens up the 16-track album with a song that bears her family name. The Grants, and throughout, she clings to her father, brother, and sister as if preparing for their loss.
The Grants begins with a nostalgic melancholy and a pang of guilt over missing a series of family emergencies. It then explains how Lana copes with painful experiences, singing: “I’m probably running away from my feelings”.
All of this can be felt as soon as the intro begins with gospel choir preludes and continues to unfold layers of emotion between the few repeated lyrics.
Then, the album’s title track, ...Ocean Blvd evokes a strong feeling of grief and is a poignant tribute. Del Rey opens up about her life, pondering big questions regarding her family, home, and future.
Despite the song being mostly about thought and without seeming to resolve any of its main concerns, Margaret seems like a viable option. Margaret is a duet with the album’s producer, Jack Antonoff, and features Antonoff’s band The Bleachers. Actress Margaret Qualley, who is Antonoff’s girlfriend, reportedly inspired the song’s title.
“When you know, you know,” Del Rey asserts, echoing a message from the earlier Paris, Texas. Later, in a sweet spoken word phrase, she adds: “So if you don’t know, don’t give up, ‘cos you never know what the new day will bring.”
The track begins with Del Rey’s story of how they met. In an interview with Rolling Stone, Del Rey stated it was “the kind of song that could hypothetically be played at their wedding.”
There’s no denying that the Summertime Sadness hitmaker created a beautiful yet strong portrayal of her genuine self. Her expressive, lingeringly painful voice is accompanied by brilliant piano keys in many other songs on this album that are light and airy.
Even the majority of the songs on this album lack choruses and hooks, Del Rey just essentially singing and expressing herself through poetry that combines love, time, and femininity.
For instance, A&W, which abbreviates “American w***e” and references the nostalgic fast food chain, shows Del Rey’s complex portrayal of gender. It makes comments on being a woman, being stereotyped, and being taken advantage of, making it excellent for those who need to process such messages.
Other than that, the piano shines through in songs like Candy Necklaces, which features Jon Batiste, with its striking notes complementing Del Rey’s smooth vocals. In my opinion, Candy Necklaces is by far the only song that stands out from the rest of the album in terms of styles, as it clearly evokes another song from Del Rey’s previous album, 2017’s Lust for Life, and it is so underrated.
Ocean Blvd ends with Taco Truck x VB, which is basically a trap remix of her previous track Venice B***h. It gives the same vibe as Summer Bummer and Groupie Love, in which both of them featured A$AP Rocky.
Along with Del Rey, other notable artistes like Jon Batiste, Father John Misty, and Tommy Genesis are also included on this album. These artistes provide excellent harmonies and drive the melody at times.
Jon Batiste even contributes an interlude, one of two on the album. In their tender duet Let the Light In with Father John Misty, the two singers compete with their respective, equally potent vocal parts.
The Tommy Genesis-featured Peppers, which has some electronic dance elements near the end, is also surprisingly energising. With the rap line: “Hands on your knees, I’m Angelina Jolie”, Del Rey brings this energy surge to a head in the song.
Del Rey’s inclusion of Judah Smith’s interlude on her record may seem unplanned at first. The sermon’s message matches her own. However, the sermon echoes Del Rey’s longstanding message. She and Smith both admit to having selfishness and envy at their cores. Whether it’s a sermon or a song, their messages are for themselves as well as others.
Overall, this project is honest, open, and self-reflective. I’d rather say it’s like the artist’s personal diary turned into an album. It’s a well-crafted window into the artiste’s life. Many different messages are conveyed, and each listen may teach you or probably someone else something new.
This album even makes the case that all of this sadness is fleeting, as the eighth track Kintsugi suggests, when cracks appear in our exteriors and allow light to pass through. Turning all of this sorrow into a message of hope is Ocean Blvd’s cleverest inversion.
