Review Summary: Lana’s expression and earnestness throughout Ocean Blvd far outweigh the pitfalls and with graceful arrangements and well-formed instrumentation, the album is a golden mark on the songwriter’s discography.
The aberration that is Lana Del Rey has returned to the surface once again with her temperament on full display and her ambition on her sleeve. In her latest installment, Lana bridges the feelings of her dark desires and unique family encounters into a construction of unapologetic sincerity that illustrates her extraordinary talent. Did you know that there’s a tunnel under Ocean Blvd is Lana’s ninth studio album that features remarkable styles of folk, alternative pop and hip-hop fusion with plenty of collaboration from Jon Batiste, SYML, RIOPY, Father John Misty, Bleachers, and Tommy Genesis. Ocean Blvd explores various themes of remending family ties, industry plant criticism, remorseless sexual desires, and contemplating the artist’s own legacy in partnership with a masterful arrangement of musical production and composition.
Ocean Blvd embarks on a familiar sound journey we have heard from the baroque-pop artist’s repertoire from moments on previous releases, Blue Bannisters and critically acclaimed, Norman ***ing Rockwell. “The Grants,” “Sweet,” and the album’s title track features elegant vocal performances while advancing Lana’s simplistic lyrical style. With beautifully added choir and string elements, the songs allow for moments of vulnerability and celebration enacting Lana’s songwriting on full display. Ocean Blvd features refreshing tracks like “A&W” and “Taco Truck x VB” that showcase a wondrous mixture of folk-pop and darker, hip-hop style sounds that add to the versatility of an album that for the most part, is softer in its arrangements. The features presented on this album whether in performances like, “Candy Necklace (feat. Jon Batiste)”, “Let The Light In (feat. Father John Misty)”, and “Margaret (feat. Bleachers)” or sampled features such as “Paris, Texas (feat. SYML)” and “Peppers (feat Tommy Genesis)” offer their own unique, enjoyable experiences that one simply can’t get enough of. A few dull moments occur on Ocean Blvd in “Kintsugi” and “Fingertips” where the songs aren’t as exciting or glamorous in comparison to the rest of the album, but the songwriter’s honesty and production is still to be admired in these areas.
“Just another folk song, but anyway/I try so hard, but that’s okay.”
“It’s how the light gets in.”
(“Kintsugi”)
Lana Del Rey has been able to master certain arts and elements from recent releases that have recaptured critics attention and her poetry is as vivid and charming as ever on this record. Lana’s expression and earnestness throughout Ocean Blvd far outweigh the pitfalls and with graceful arrangements and well-formed instrumentation, the album is a golden mark on the songwriter’s discography. There are times when certain songs feel too long, and some songs not long enough, yet I admire her unapologetic integrity she has toward her art after many years of criticism of her being an industry plant of sorts. I think this record showcases a lot of Lana’s sincere feelings and the production excels and creates a solid foundation for her vocals to truly deliver.
