The very next track, “Let Me Love You Like A Woman,” reminds us that she’s, “Ready to leave LA.” And on “Wild at Heart” she finally plays out her fantasy, “I left Calabasas, escaped all the ashes.” On “Tulsa Jesus Freak” she even dreams of leaving Los Angeles for Arkansas.
She lusts after the simple pleasures of “Listening to the White Stripes when they were white-hot” and “just listening to Kings of Leon to the beat,” back when she wasn’t famous. On the album’s opening track, “White Dress” she fantasizes about being a bright eyed nineteen year old waitress in Orlando. Our patron saint of nostalgia, Del Rey finds herself, as she has before, and as we all are now, longing for the good old days, real or imagined. Here her gift for romanticizing the mundane and glamorizing the traumatic shines in what might be her most intimate and precocious collection of songs yet, which explore Del Rey’s ever-more-complicated relationship with fame.
She’s an expert in playing this beautiful game of very sad MadLibs, and a decade into her career even Bruce Springsteen is calling her “ simply one of the best songwriters in the country, as we speak.” Enter her seventh studio album, produced by close collaborator, Jack Antonoff, Chemtrails Over the Country Club. You could say Lana del Rey is getting better at singing about old men, old money, and old-timey things- but she’s just never been bad at it.
0 kommentar(er)
