Known for her signature melancholy and retro-inspired sound, Lana Del Rey consistently releases sweeping, cinematic “sadcore” albums that poeticize the darker side of romance, the glamorous aspects of the past, and tragedy. Her latest, Norman Fucking Rockwell!, is no exception to this; this sixth studio album is full of sweeping, epic tracks devoted to California, the ’60s and ‘70s music scenes, a true sense of self, and the ever-changing meaning of Americana. Norman Fucking Rockwell! felt like it was a long time coming, even though her previous album Lust for Life only came out in 2017. While Del Rey had released first single “Mariner’s Apartment Complex” and various other song snippets via Instagram throughout 2018, it wasn’t until June of this year that the album’s late August release date was announced.
Produced by Lana Del Rey and Jack Antonoff, the album’s soft rock sound meanders along with strong piano chords, folk influences, and light psychedelic jamming. As usual, Del Rey sings about the past as if she’s lived it, evoking nostalgia for times gone by that she (and most of her audience) wasn’t there to witness. What’s different here is a strong sense of self and reality; Norman Fucking Rockwell! is very aware of the power of stories, whether they’re true or false, and whether they’re about Del Rey herself or what we collectively think about pop culture.
Norman Fucking Rockwell! opens with Billy Joel-worthy piano bars on the album’s eponymous track. “Goddamn manchild…your poetry’s bad, and you blame the news/But I can’t change that, and I can’t change your mood,” Del Rey sings, describing a petulant poet that she’s tired of coddling. Gone is the sad, dark devotion of Born to Die and Ultraviolence; Norman Fucking Rockwell! is older, wiser, and more willing to recognize what she deserves–or doesn’t deserve.
Next is the first single, “Mariner’s Apartment Complex,” which has Del Rey taking control of her own image. The layered harmonies, piano chords, and acoustic guitars float through this track as Del Rey demands to not be boxed in as someone else’s tragic figure, using references to The Postal Service’s “The District Sleeps Alone Tonight” and Elton John’s Marilyn Monroe-inspired “Candle in the Wind.” This feeling doesn’t stop with “Mariner’s Apartment Complex”; with a vaguely hypnotic background that calls back to Ultraviolence, “Cinnamon Girl” plays the love and sweetness one deserves in a relationship against the pain of a relationship damaged by drugs and toxicity, ultimately deciding that some people don’t deserve the chances you give them.
It wouldn’t be a Lana Del Rey album without a hefty dose of nostalgia and Americana, and Norman Fucking Rockwell! has plenty of both. “Venice Bitch,” the second single from the album, is full of references to days gone by, including the iconic American painter and namesake of the album himself, Norman Rockwell, poet Robert Frost, and songs like “Crimson and Clover.” Surprisingly, you barely notice that the song is nearly ten minutes long, with psychedelic jamming bridging the gap between the first half and the second. Grandiose selections like “The Next Best American Record” and “The greatest” have Del Rey singing about The Beach Boys, The Eagles and Led Zeppelin as if she was observing them herself.
Naturally, this nostalgia lends itself to dreamy, gloomy summer anthems dedicated to California. Fifth single “Fuck it I love you” is a love song that quotes lyrics from “Dream a Little Dream of Me” while asserting that California is not merely a place, but a state of mind. The resplendent melancholy of “California” mourns the distance between her and her love against the backdrop of the Golden State. One of the most interesting inclusions on the album is Del Rey’s cover of “Doin’ Time,” her haunting take on the Sublime song. Originally, Del Rey recorded this track for a Sublime documentary, but decided to also include it on the album since it fit the vibe. She was correct; despite being smack in the middle of the album, the cover doesn’t disrupt the flow, provides for a more upbeat track, and fits in perfectly with the dreamy California vibes that run throughout.
Norman Fucking Rockwell! is the perfect album for the twilight of summer, one that examines relationships, perception, and our collective memory with eyes that are more jaded–or more realistic, depending on your viewpoint–than romantic. Del Rey twists the past and present together to create a new definition of herself and American pop culture in our chaotic present, balancing nostalgia and reality in her signature dreamy way. The music shies away from her past trap-pop tendencies and embraces a strong piano presence and light folk guitar, allowing for more focus on her vocals and harmonies. Del Rey’s lyrics continue to be sweeping and evocative, creating sadcore epics out of everything from the mundane day-to-day aspects of relationships, to the ambitions of past musicians, to the state of California in all its glory.
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