Blue Banisters. Lana del Rey

If there is one artist who has carved out a whole segment of the musical pantheon for herself in the past decade, it is Lana del Rey. With whole hosts of singers singing like her and following her musical style. It led to a reviewer to write that the only one in competition with Lana del Rey is Lana del Rey herself. Do I agree? Certainly for a large part but someone like Reb Fountain is certainly finding her own piece of the pie.

Enter Blue Banisters, Lana del Rey's second album of 2021. Instantly recognisable, yet definitely different as well. What is it that I'm noticing?

Several things. Let me start with commenting that on Blue Banisters the singer has never moved closer to the 1950 singers that I heard as a very small kid on my mother's record player; before I broke it wanting to put on a record myself. The punishment? Four years of no music in the home. The song that comes most with that memory is 'Tammy' by Debbie Reynolds. And I hear it all the time in my head listening to Blue Banisters.

Next, that many songs rely more on atmosphere than ever before. The focus lies even more on Del Rey's voice. Just listen to the title song. An almost droning sound cradles the song. With minimal accompaniment later on the song. It still impresses.

The many layers of voices that Lana del Rey presents show how diverse a voice she has. It colours Blue Banisters in many colours. From a whisper, her characteristic Lana del Rey voice and a higher and softer register. Listen for example to 'Black Bathing Suit'. There's so many different voices in there and all adding to the sound in their own way.

The end section of this record are more elementary, a piano and acoustic guitar. Also in this setting Lana del Rey remains totally herself. She is fully in control over her record alright.

It may be subtle but Blue Banisters has its own sound to my ears. Many songs on the album are more empty, not so much open, as the whole spectrum of the mix is filled, no matter how soft or subtle they are played. The instrument deepest in the mix is all over the place. Not to forget the 1930s jazz sound that can suddenly pop up.

Miles Kane, after working with Alex Turner, manages to cooperate with another absolute top artist. 'Dealer' is perhaps the strangest song on this record. Not so much musically, but vocally. Lana del Rey really gets out of her comfort zone here, as Miles Kane operates within it. The song detonates a little because of it and thus enriches the album as a whole.

Blue Banisters has its own top song, like most of Del Rey's records. Here it is 'Violet For Roses'. To me this is quintessential Lana del Rey containing everything her music stands for. There are more songs that I really like but 'Violet For Roses simply stands out for me.

With 'Chemtrails Over The Country Club' Lana del Rey already showed that the 'NFR' was no coincidence. Blue Banisters nails it. This level of musicianship is extraordinary. Is there something left to wish for? Yes, what if she would make a record with someone like Dan Auerbach? That would make for a different record, while remaining herself totally. Some experiment may be welcome after this record. 'Ultraviolence' is a record I still like to play. Where Blue Banisters truly winds up, only time can tell.

Wout de Natris