Lana tells compelling, but all too familiar stories on “Blue Banisters”
Blue Banisters seems like a mosaic of Lana’s past and present, with her classic ethereal sound, references to Hollywood. The album opens with Textbook, Blue Banisters, and Arcadia, all songs that Lana released prior to the album. While Textbook is strong lyrically, the production seems unmotivated. Blue Banisters is the most reminiscent of Norman Fucking Rockwell, with an enchanting chorus, classic Lana poetic lyrics, and minimal production. Arcadia contains some powerful lyrics, such as ‘they built me up three hundred feet tall just to tear me down’, which reading on its own is reminiscent of Taylor Swift’s early discography. But then, Lana resorts back to her references of California, LA, and America, which is getting pretty old and dated now, especially since the U.S is a disaster with very few redeeming qualities. The rest of the song is pretty mild and timid. (since writing this, I have a greater appreciation for Arcadia, I think it is quite a pleasant song, still not innovative or unique, but pleasant and enjoyable to listen to)
‘Black Bathing Suit’ is the strongest track on the first half of the album, the production and percussion on the track are great, containing signature strong lyrics and vocals by Lana. “If You Lie Down with Me” is almost a great track, with really great instrumentals, until it makes an out-of-touch reference to the fourth of July. How did Lana not get the memo that we do not celebrate colonial holidays anymore? Why does Lana continue to idealize American colonialism and imagery? This makes the lyric in ‘Text Book ‘ referencing Black Lives Matter seem very performative. You cannot claim to support social movements that call for the dismantling of institutions and then also support those institutions at the same time.
The second half of the album holds out as much stronger than the first half. ‘Violet for Roses’ is a highlight, opening and closing with the lines ‘the girls are runnin around with their masks off and it makes me so happy’. Lana has had her controversy with face masks (the lack of wearing real ones, which she since corrected), but the way I interpret this lyric is a hopeful vision of the pandemic ending, something we all yearn for is the day we can rip these masks off. This is an instant classic.
Then comes ‘Dealer’, an instantly iconic track that shows off Lana Del Rey’s ability to innovate and incorporate new and unique sound while still maintaining a classic Lana feel. The track channels Brittany Howard in an amazing way, already working its way into many of my playlists. If Lana made up an album of tracks like Dealer, then she would have another Norman Fucking Rockwell on her hands, but too often she resorts back into songs with the same structure, same sound, and too familiar lyrics, blending together with the rest of her discography. ‘
‘Thunder’ comes right after ‘Dealer’ which does not do it many favours. It’s a pretty good song, but ‘Dealer; is so amazing that it seems dull in comparison. Thunder also references the classic ‘Mr Brightside’ by the Killers. Thunder is enjoyable to listen to, and quite a good song, but sounds too reminiscent of her previous work without showing much progression. Lana sings passionately “Just do it, just do it, don’t wait” over an instrumental that sounds pretty similar to ‘Wild at Heart’, so similar I almost started singing the lyrics to that song instead. A classic Lana outro finishes the song, with strong backing vocals, and of course a little wispy spoken voice, a signature of Lana’s. Wildflower Wildfire was the best of the songs released prior to the album, much more lively, with enchanting poetic lyrics, and captivating production, satisfyingly building up to an effective conclusion. ‘Nectar of the Gods’ is a sweet, country-esque track, another track cut from earlier albums. ‘Living Legend’ sounds like something off of the classic ‘Ultraviolence’ but with better quality production, and better songwriting in general, and of course contains references to Brooklyn as much of ‘Ultraviolence’ does. It is perhaps the rawest, heartfelt, and personal song on the album, and contains a satisfying saxophone solo (I have since learned this is actually Lana’s vocals heavily edited to sound like a sax, pretty cool). ‘Cherry Blossom’ dates back to 2016, another personal track that is a good follow-up to ‘Living Legend’.
The album ends with ‘ Sweet Carolina ‘, a soothing ending to the album. Lana frustratingly says what we all wish to say to men obsessed with crypto, “fuck you”. This is an amusing reference that I think anyone who isn’t enthralled in the grasps and brainwashing of the cult of Elon Musk and capitalism can relate to. This is Lana at her best, making poetic and amusing references to pop culture, in a song that holds up in itself as well. It is also a reference that does not idealize the United States and instead criticizes it, good job Lana, please continue with that.
Blue Banisters does not contain much new content, instead, it is mostly re-worked songs cut from her early discography. Sometimes there are gems like ‘Dealer’, ‘Violet for Roses’, and other strong tracks like ‘Wildflower Wildfire’, but at other times it is clear why the songs were perhaps cut from previous albums. Overall it is a good album but shows that Lana is struggling to innovate after her wildly successful Norman Fucking Rockwell, and is perhaps playing it safe and comfortable with the same sound again and again. Jack Antonoff is missed on this album as he does a good job of pushing artists into new directions while also representing their iconic sound very well. Perhaps this album is a chance for Lana to reflect on her past, reflected with her re-working of past tracks, and signifies that she is now ready to move on ( please please please move on from Hollywood and American references, please). I hope ‘Dealer’ foreshadows Lana’s next project’ as I would love to see her take some more risks with her sound, even if it means losing early fans who expect the same sound again and again.
When approaching this album, I have learned to view it as almost a summary of Lana’s past, a collection of moments and tracks that did not make previous albums or stories that were left untold. Thinking of the album from this perspective changed my opinion on it. The album lacks innovation, blending into much of her discography, maintaining the same sound she has on previous albums, but that is pretty much the point of this album. Perhaps, this album is a conclusion or the final chapter for this era of Lana Del Rey, symbolizing she is ready to move on from her past.
Until then, ‘Blue Banisters’ is a satisfying, enjoyable, and pleasant piece of work encompassing the talented singer-songwriter's past, looking forward to the present with a hopeful gaze.
7.5+ out of 10 (subtracted one point due to colonial references)
