This album would have been understood in Germany in the eighteenth century, France in the nineteenth, in Berlin cabarets and after Long Island parties in the 1920s, playing in a dead TV in the future of The Terminator, in the ruins of America after the record has been banned.Miles Kane has revealed that he and Lana Del Rey have recorded an album’s worth of material that has yet to see the light of day. As her tone goes higher, escape seems like a physical reflex, the descent something between an idea and desire.
Again and again, there’s a sense of no-way-out, with an undertone that Poe would have recognized: Who says you have to leave? It all comes to a verge with “In My Feelings,” where the voice dives down into the churning black emptiness again and again, then surfacing each time. A$AP Rocky is real-life ballast in “Groupie Love,” which makes the drift that rules the song unbearably morbid. When the Weeknd weaves in and out of Del Rey’s singing on “Lust for Life,” he’s not a second vocal, he’s the first singer’s second mind. “Now you’re the future,” she croons to “You kids” in the first lines of “Love,” and it’s a sick joke: I was the future once too, and look how ****ed I am now.
It’s not the Weltschmerz that artists have been trafficking in for more than two hundred years. It’s more than the circles of pop echoes - “Don’t Worry Baby,” “Leader of the Pack,” “A Change Is Gonna Come,” “Stairway to Heaven,” “I Fall to Pieces,” “Tiny Dancer,” “Tomorrow Never Knows,” and a hundred others I haven’t caught yet. The same is true for the sense of time that governs the songs. If she seems to float above whatever world she’s mapping, it’s because she quietly gets it across that there’s nothing on land that won’t disappear at the touch.
This is the deepest vortex she’s conjured up.
From Village Voice, Real Life Rock top 10, August 8, 2017:
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