“Did you know that there’s a tunnel under Ocean Blvd?” album review


Did you like Lana’s latest? (Photo Credit: www,pitchfork.com)

Emma Silva, Supervising Editor

Lana Del Rey released her much anticipated album, “Did you know that there’s a tunnel under Ocean Blvd?” on March 24th.


The album features production by Jack Antonoff, Mike Hermosa, and several others.


And as Rosary’s best music critic, I have some thoughts.


The opener, “The Grants” is one of Lana’s best. Opening with gospel singers harmonizing, it sets the tone for the rest of the album. It’s unique, and a great opener.


The title track, which I will refer to as DYKTTATUOB to spare my poor knuckles from having to type out the title again, is phenomenal. In recent years, Lana has become notorious for her long and melancholy piano ballads, but DKTTATUOB is one of her best. Ending with “Don’t forget me” is a haunting way to end the title track.


“Sweet” is a lyrical highlight of the album. Another piano ballad, but not a forgettable one. Painfully autobiographic, and with some of the sweetest (pun intended) vocals on the album.


“A&W” is another high moment. This song sounds like nothing else Lana has ever put out. Opening with beautiful strings, the song slowly transitions to an almost spooky attack of beats and synths. And every second of it is perfect.


Here is where the album starts to lag for me. “Judah Smith Interlude” goes for a little too long for my taste, and kind of takes me out of the album. “Candy Necklace” Featuring John Batiste is forgettable at best. I know that might be a hot take, but it just kind of sucks. A bland piano ballad at its best, an annoying low point of the album at its worst. I can understand the intention of  “Jon Batiste Interlude,” but right after two mid songs, it’s annoying.


“Kintsugi” and “Fingertips” are both lyrically beautiful and very autobiographical. I only wish they weren’t back to back. The two songs get lost in each other in a way that makes you unappreciative of how beautiful they are on their own. If a song or two separated them on the track list, I think I would appreciate them more.


“Paris, Texas” sounds like a song coming out of a wind-up jewelry box. The song is synonymous with the “coquette” aesthetic that Lana has cemented herself with.


The album starts to pick back up with some back to back bangers. “Grandfather please stand on the shoulders of my father while he’s deep-sea fishing” is stunning. With a name like that, I would expect nothing else. It’s a perfect ballad.


My personal favorite, “Let The Light In” featuring Father John Misty is genuine perfection. The two singers harmonize, and it sounds like the angels singing. I can’t begin to explain how much I love this song.


“Margaret” featuring Bleachers is another high point. I have mixed feelings about Jack Antonoff’s vocals, but the piano and overall aesthetic of the song have me sold.


“Fishtail” is definitely different. It’s reminiscent of some synths off of “NFR!” Nevertheless, it’s not my favorite. However, “Peppers” is one of Lana’s most unique songs she’s ever put out. The mix of bass, synth, and Tommy Genesis’ vocals creates a top three song for this album.


Closing out strong with “Taco Truck x VB,” the album concludes with a remix of a song off of Lana’s earlier album, “NFR!” I personally love it, and think it provides a satisfying ending to the album.


I think this album has a lot of high highs, and low lows. Overall, I would rate it a 7/10 , but my opinion may change with time.
What did you think about it?