Samir’s Selection 08/03/2017 (a.m.)

  • Jia Tolentino reviews Lana Del Rey’s latest album, “Lust for Life,” and compares it to the singer’s previous work on the albums “Ultraviolence” and “Born to Die.”… And what about America? Del Rey’s thematic fixations have always allowed her to merge disparate eras: she draws on thirties fake-book melodies, sixties surf-rock reverb, and contemporary hip-hop production, chromatically aligning everything with her deep romantic bent. These days, however, America’s past feels treacherous and its future alarming—romance doesn’t fit well with one of her primary subjects anymore. Del Rey has spoken about the Trump era in interviews, sometimes vaguely and sometimes sharply. She changed her tour visuals, she told Pitchfork: instead of the American flag, which she loves, she’d “rather have static,” she said. I appreciate the simplicity of this position; at a time when other artists are working overtime to muster a cogent thesis about America, Del Rey is letting her instinct for doom and darkness trouble the waters. At Pitchfork, Meaghan Garvey described “Lust for Life” as a vanitas painting about America. The images have changed: the beaches are black, the roses are burning. The flag looks like static, and a collective ruin seems to be at hand. Del Rey is getting out from under the narratives that have determined her. She is starting to work as if she’s seeing things rather than being seen.

    tags: LanaDelRay culture music USculture

Posted from Diigo. The rest of my favorite links are here.


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