Amongst the optimism and nostalgia is the usual tales of heartbreak, lust and inner turmoil, and this is where her grittiest material lies. That’s not to say Lana’s not compelling on her solo tracks. Yet somehow it’s one of the best and most compelling moments of the album, and it’s more than refreshing to hear her dabble in another genre. The eerie, addictive trap beats and rap from A$AP and his latest prodigy Playboi Carti on ‘Summer Bummer’ strays far from the typical Del Rey blueprint. Hip-hop has always been an undercurrent of Del Rey’s music even as far back as her debut, yet here it comes to the forefront. It may seem an unusual match, but is one that actually had its roots back in 2012, when the rapper starred as Lana’s husband in the ‘ National Anthem’ video. Yet one of the most unexpectedly good collaborations of Lust For Life (and potentially of the year?) is A$AP Rocky’s appearance. The hippy vibes are instead delivered by Sean Ono Lennon, who both provides vocals and plays all of the instruments on ‘Tomorrow Never Came’, resulting in a starstruck Lana ( “isn’t life crazy?”) It’s an undeniably catchy, warming ballad and is a gig that’s sure to thrust Mr Lennon out of his parents’ shadows. The same can be said for Stevie Nicks’ appearance on ‘Beautiful People Beautiful Problems’, which winds up as a mediocre country song rather than the dreamy duet it should’ve been. The Weeknd’s delicate, airy falsetto seems to get lost amongst Del Rey’s own dulcet tones, resulting in a fairly washed-out track. With a total of five collaborative tracks on the album, it’s surely another sign that she’s reaching out of her isolated comfort zone albeit to varying degrees of success. Although the lyrically empty hook, “ take off, take off, take off all of your clothes” and choice of The Weeknd smells a bit like a bid for chart success, it’s noteworthy if only for the fact that it’s the first time a Lana Del Rey album has featured vocals other than her own. It’s a theme that continues into the equally upbeat title track.
Yet here she seems to have a new-found perspective and, dare we say it, positivity.
It’s hopeful narrative that’s a far cry from her usual indulgent documentation of tempestuous relationships with the ‘bad guys’ and her deepest, darkest thoughts. It’s an almost direct address to an image-obsessed youth who take still pleasure in getting “ all dressed up” to go “ nowhere in particular”, despite all the madness going on in the Trump-era world. Opening track ‘Love’ immediately confirms that Del Rey hasn’t strayed far at all from her trademark cinematic, whimsical nostalgia. As we know, Lana Del Rey is far more subtle, clever and tasteful than all that. There’s no shaven heads or weird dancing to be had here. That said, this is by no means a ‘transformation’ à la Miley Cyrus or Katy Perry. Although this might be judging an album by its cover, for an artist so heavily defined by the vintage Hollywood sad-girl image she has carefully crafted for herself, it’s hard not to read into it.
The absence of her trademark pout and troubled stare is almost… unnerving. Looking at her smiling face on the album artwork of her fourth album Lust For Life, you’d be forgiven for thinking that Lana Del Rey has undergone either a radical rebrand or plastic surgery. Lana Del Rey is in a defiant and, dare we say, tentatively happy mood on her fourth album, ‘Lust For Life’.