The one aspect lagging behind is Del Rey’s instrumentation. Although screaming vocals don’t really fit within Del Rey’s signature style, she dips into this section and it disappears just as fast as it shows up.
Notably, “Dealer” has a moment where Del Rey forgoes her soft falsetto and instead devolves into a scream-but just for a moment. In the past, Del Rey has had moments where her vocal delivery is muddled and difficult to understand, like during parts of “Venice Bitch” on her 2019 album Norman F-king Rockwell!, but her vocals shine through with clarity and vocal precision throughout Blue Banisters. Her soft voice really fits her muted music style. The line “Comfortably numb, but with lithium came poetry” on “Wildflower Wildfire” is a powerful reference to her inspirations and how she channels her pain into art.ĭel Rey’s voice is as beautiful as ever for the most part. Connections like this make the album a really engaging listen. The songs are woven together through color, telling a larger story of sadness overshadowing these relationships.
Del Rey, who abandons the blue flowers on “Violets for Roses”-a metaphor for changing oneself in a relationship-hurts all the more knowing that this change was for nothing, as her plans to paint her banisters blue on Blue Banisters disappear once the relationship has ended. At times she creates powerful impacts through her lyrics, which subtly weave together many of her songs on this album.
While March’s Chemtrails over the Country Club brought a new folksy sound to Lana Del Rey’s music, on Blue Banisters her music appears to be a return to reflective alternative pop, for better or worse.ĭel Rey’s lyrics on Blue Banisters dash between heartbreaking power and tone-deaf missed opportunities.
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