By Sara Nigro
Staff Writer
Known for her abstract storytelling and melancholy melodies, Lana Del Rey portrays themes of loss, faith and longing in her new album, “Did You Know There’s a Tunnel Under Ocean Blvd.”
Del Rey released her ninth studio album on March 24, after the release of three singles on the album — the title track, “A&W” and “The Grants.” Following her usual alternative style, Del Rey tells stories of heartache and reflects on loved ones who have passed through her unique lyrics and soft whisper tone.
“The Grants” opens the album and gives the listener insight into the songs to come. A choir sings at the beginning, rather than Del Rey, as they describe love and loss through strong harmonies.
The other singles released prior didn’t stand out to me, as the title track follows her usual style and structure — it sounds like it could be placed on any one of her albums. “A&W” is unique and interesting for a first-time listener, but it’s a seven minute song, making it easy to lose focus without intentional listening.
The album starts with a darker tone as Del Rey presents a deep sadness through her lyrics. In one of my favorites, “Kintsugi,” she sings, “But I can't say I run when things get hard / It's just that I don't trust myself with my heart / But I've had to let it break a little more / 'Cause they say that's what it's for.” This song demonstrates her vocal abilities as well as her vulnerability as a songwriter, as it seems to be the most honest song on the album.
As the album continues, the songs transition from slow, dark and heavy to light and upbeat. The eleventh track,“Grandfather Please Stand on The Shoulders of My Father While He’s Deep-Sea Fishing" features beautiful piano accompaniment in addition to soft, pretty vocals. In this song she reflects on loved ones who have passed and asks God to send her a sign of them. A common “sign” she repeats — “three white butterflies to know you're near” — is found in both the intro and outro.
As per her usual style, Del Rey also showcases her ability to tell a story through her songs. In “Let the Light In (ft. Father John Misty),” she tells a story about a woman seemingly having an affair of sorts. She sings about this private relationship making references to sneaking in back doors and meeting up in the middle of the night.
Sharing this story in just a few short minutes takes a lot of skill, and the song quickly became one of my favorites.
By the final song, Del Rey seems to have done a complete 180 in tone as “Taco Truck x VB” concludes the album. It demonstrates an upbeat production, and the second half transitions into a remix of “Venice Bitch,” a song from her acclaimed album, “Norman f—ing Rockwell.”
It seems fitting to place this song near the end as it contrasts so strongly with the beginning of the album and also creates a nostalgic feel for fans of the singer.
My main critique of the album is her use of interludes, as they are both closer to the beginning of the album. It would make more sense to me as a listener to separate the beginning and the end of the album, as these parts portray different tones. The first one, “Judah Smith Interlude,” while relevant to the theme, is long, and seems oddly placed.
The second interlude, “Jon Batiste Interlude,” seems to flow better, as the song he’s featured on, “Candy Necklace,” comes directly before it. I think a more intentional transition between songs would allow for a more cohesive album as it does seem to tell a story from beginning to end.
As in all of her previous albums, Del Rey showcases her beautiful voice while portraying deep and vulnerable emotions that fit nicely into her discography. The album is done well and was more captivating than her most recent work — although it doesn’t seem as remarkable as her previous album, “Norman f—ing Rockwell.”
