Lana Del Rey’s sixth studio album, Norman F*****g Rockwell, reveals her most authentic self to date. She’s transformed herself from a pop culture persona to an actual, real person, all the while maintaining the angelic, heart-swooning vibe she’s known for. It’s a departure, and a consistent album all at once.
In Del Rey’s 2012 breakthrough album, Born to Die, she portrays herself as a death-obsessed, depressed girl who likes to live on the edge. But seven years later, Norman F*****g Rockwell shows more depth and emotional range than ever before, expressing both vulnerabilities and ‘tell it like it is’ independence.
“God damn, man child,” she sings in the first track—a surprise lyric from an artist who has previously been criticized for glamourizing toxic behaviour. Now, she seems more prepared to tackle her love interest’s downfalls. At first, listeners might expect this album to channel Lizzo’s “Truth Hurts”, telling women everywhere that they deserve better. But Del Rey has more in mind.
“But if you hold me without hurting me, you’ll be the first who ever did,” she says later in the track “Cinnamon Girl,” showing her vulnerability, and an ultimate desire to be loved properly. She carries this tone in “hope is a dangerous thing for a woman like me to have – but I have it,” the album’s final track. She’s not happy, but at least she’s not sad, and she sounds determined to not submit.
But the album’s shift in attitude doesn’t make it any less Del Rey-esque. Norman F*****g Rockwell maintains the style she is known for. The album takes her breathy, effortless falsetto, with hints of her deep, raspy vocals and pairs them with music that screams California. The sound of strings, synth, bass, and reverb ring out, creating faintly trap, yet vintage Hollywood beats. Of course, the album is also laced with historical American pop culture references. The album title itself refers to Norman Rockwell, an American illustrator.
And then, there’s “Doin’ Time,” a cover of a song by American ska-punk band Sublime.
“Doin’ Time” is the standout track of the album. With enchanting vocals, and truly sick beats, Del Rey does Bradley Nowell and the band absolute justice.
The only downfall of the album is its length, and its desire to be listened to from start to finish. Del Rey described herself as an album artist rather than a chart-topping pop star in a recent interview with The Kevin & Bean Show. She prioritizes printing physical copies of her albums so that the tracks can be heard one after the other to create one cohesive piece of art. “Venice Bitch,” the third track of the album, is nearly 10 minutes on its own, and the 14 track album adds up to 67 minutes altogether. That’s a tall order for people who supposedly only have seven second attention spans. Only one of the tracks, “Doin’ Time”, is suitable for a pre-party or road trip.
Despite Norman F*****g Rockwell’s length, the album is well worth a listen—or five. Del Rey stays true to her style, and pulls listeners into her daydream. The growth that her sixth studio album’s lyrics show will pull at the heartstrings of any long-time fan.
