Retro coca-cola signs on gigantic billboards inform you to indulge in the sugary concoction as you drive on long unending roads down the Californian coast, desert winds flowing through your hair. Pink Cadillac convertibles invade the scenery, whilst in the suburbs pastel coloured houses with cliched picket fences shelter young, carefree adults chasing the American dream. Sounds of Springsteen burst out of car radios and sound systems, Elvis Presley tunes appear once in a while. This is America as painted by cinema, the irresistible vintage side of an intriguing nation. And although contemporary America couldn't be further away from these cliche images, one pop star who has personified the American dream throughout her whole career has recently returned with some of her most fascinating and daring work to date.
Obssessed over and adored by many, yet also loathed and ridiculed regularly, Lizzy Grant's alias, persona, character, Lana Del Rey has always had romantic Americana at the forefront of everything and for some, her caricature of the American ideal has always been 'too much'. Criticised for her voice, her face, her act, her artifice, the clothes she wears the sandwiches she eats, it's never been easy for her - but why? Simply because Lana Del Rey is artificial - she isn't real - she is a character, and unashamedly so. She never takes a day off but why should she? It's the character of Lana Del Rey that most of the world has fallen for, not the authenticity of Lizzy Grant.
2017s Lust For Life proved once again that Del Rey is one of pop music's biggest stars - yet inevitably it wasn't without controversy. The album closer, the eerie-yet-euphoric 'Get Free' was the subject of a strange dispute between Del Rey and Radiohead, due to its apparent similarities to Radiohead's 'Creep'. Del Rey claimed Radiohead had demanded 100% of the royalties and that a lawsuit was coming yet Radiohead's music publisher has denied all of this - to this day we still don't have a clue what is going on.
Once again, Lana Del Rey was knocked down, but once again she's got back up as she now prepares to release her 6th studio record - Norman Fucking Rockwell. Two tasters have already been provided and they show LDR as defiant and feisty. 'Mariners Apartment Complex' merges acoustic and orchestral sounds to create a blanket of mystery whilst lyrically, she is honest and valiant, the stand out verse being: "They mistook my kindness for weakness, I fucked up, I know that, but Jesus, Can't a girl just do the best she can?", a potential reference to the Radiohead conflict? Meanwhile 'Venice Bitch ' is a complex and daring masterpiece that develops from trademark LDR of acoustic Americana nostalgia with accompanying string sounds, into electronic, R&B, hip-hop infused ferociousness.
Yet what stands out is that Lana's left a little crumb trail that leads to the suggestion that Norman Fucking Rockwell may be a concept album, a concept album that follows Lana on a journey of self-discovery alongside Norman Rockwell, an artist. The songs are already smoothly linked together lyrically. 'Mariners Apartment Complex' sees LDR sing "And who I've been is with you on these beaches, your Venice Bitch..." a clear reference to the next single, 'Venice Bitch', where LDR sings, "it's me your little Venice Bitch". Yet the conspiracy doesn't stop there. 'Venice Bitch' sees Lana reference 'Norman Rockwell', the person who inspires another song on the record, the song which we also know is going to be the title track - "Norman Rockwell, No hype under our covers, It's just me and you".
Surely this cannot be a happy coincidence? Without confirmation, this is only a prediction but Norman Fucking Rockwell is looking like a continuation of the Lana Del Rey story. By the looks of things she is introducing a new character into the wondrous world she has invented. We'll have to wait till 2019 to find out anyway, but for now we can enjoy the two delights Lana has laid for us...
Comments
Post a Comment