Lana Del Rey

Lana Del Rey could have retired after the cinematic grandeur of her 2019 high-water mark Norman Fucking Rockwell! That album's imaginative songwriting, finely crafted performances, and exceptional production served as a realization of the magnificence promised by earlier efforts, and the deepest look yet at Del Rey's stormy inner world. Subsequent albums suggested a little bit of a comedown after such heights. Both released in 2021, Chemtrails Over the Country Club felt like an NFR! bonus reel, while Blue Banisters played like a mixtape of solid but random song ideas. Ninth album Did you know that there's a tunnel under Ocean Blvd finds Del Rey returning to the powerful level of song sculpting she reached on NFR!, and feels like a strong step forward as much as it does a worthy follow-up to her best record.

If Lana Del Rey's 2021 album Chemtrails Over the Country Club felt like the atmospheric post-script to her 2019 master statement Norman Fucking Rockwell!, Blue Banisters comes off like the addendum to the post-script. Released just seventh months after its predecessor, Blue Banisters isn't too far removed from the midtempo, woozy tones that defined that album. The 15 tracks here span about an hour running time, and generally stick to the familiar framework of sad-hearted torch songs for a burning world that Lana has built her entire discography on. Closely inspecting the songwriting, production, performance, and sequencing choice on Blue Banisters, however, reveals some moments of quiet evolution.

Lana Del Rey is a femme fatale with a smoky voice, a languorous image, and a modeling contract. Not coincidentally, she didn't lack for attention leading up to the release of her Interscope debut, Born to Die…