Those listening to Lana Del Rey solely for leisurely head bops might be turned off by the stripped down production, but Born to Die diehards shouldn’t overlook her new chapter. Norman F***ing Rockwell! serves as an example of the sadcore star’s growth as an artist, replacing slow-paced loungy rhythms with piano sections and an even heavier influence on lyrics. It’s the most artistic release Del Rey has to date, something longtime fans may not be ready for, but the writing is pulled off for a whimsical, melancholy journey through the Golden State.
As is the case with Lana’s songwriting, Rockwell is chock-full of pop culture references to musicians (many reigning from California) and the album’s title artist. But it’s her T-shirt-ready quips like “It’s me your little Venice b*tch” that showcase her skills as a songwriter. The album plays like a book of novellas with homespun tales anchored by Del Rey’s breezy flow. Listening to the sentimental voice on tracks like “Mariners Apartment Complex” or the long-titled finale hold the feeling of resting in a spa while waves crash onto the shore despite their obvious desolation. That’s always been Lana’s kindling in her music, giving off this therapeutic sense with her words and vocals.
Lana taps into the legendary ska band Sublime for “Doin’ Time”, one of the best covers of recent memory. The objective for artists when it comes to doing this in music is presenting the song as their own while respecting those who made it a hit. Del Rey’s team beautifully crafted her atmospheric sound for a true ode to the Golden State classic.
Though it may not be her flashiest album, the LP holds special moments all around. The apocalyptic closing lines on “The Greatest” maintain the dread we’ve become used to as a society lately, and the instrumental outro on “Venice Bitch” is the perfect score for driving on a late night with the uncertainty of the world looming behind you. It’s all a perfect fit for Del Rey’s entertaining gloom tour through California.
It’s a work that demands more attention, but ultimately becomes one of Del Rey’s most rewarding playthroughs. Slick writing makes the songs more like intricate poems than the “look at me, I’m bad” theme that’s garnered her both love and hate over the years. Part of it is this advanced new direction that makes Norman F***ing Rockwell! so f***ing good.
SCAD Radio gives it an 8.7/10.
