There is only one Lana Del Rey. Across a career that has now spanned a decade and included nine generation-defining major label studio albums, Lana has morphed from Born To Die's swaggering femme fatale, to Ultraviolence's bruised, wandering traveler, using each new project to slowly strip away the mythos and allure of her alter-ego.
If her new album, Did you know that there's a tunnel under Ocean Blvd. wasn't evidence enough, Lana has used her time in the spotlight to slowly strip away the excesses of her production and songwriting, arriving at something approaching her real self - Elizabeth Grant.
With Ocean Blvd. now approaching Number 1 on the Official Albums Chart (it would be Lana's sixth Number 1 album - see her biggest-ever LPs in the UK here) she's made her most personal and self-analytical body of work yet, analysing her own familial ties on opening track The Grants and starting to wonder what her own legacy will be on the title track.
Lana Del Rey has always contained multitudes, and it takes just one look at her biggest songs in the UK to believe that - from the braggadocios raps of Off To The Races (21), the tender yet forceful rejection of a man who refuses to see her as anything but a muse on Norman F*cking Rockwell! (20) or her epic, Steinbeck-esque Americana road-trip on Ride (12), Lana has never, ever been content to stay in one lane.
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