it serves so fkin hard i adore this aesthetics and this is almost how i pictured tunnel album aesthetically wow its SO rich its so tremendous and im living
it serves so fkin hard i adore this aesthetics and this is almost how i pictured tunnel album aesthetically wow its SO rich its so tremendous and im living
On January 27th, 2023, Lana Del Rey was photographed by Lia Clay Miller for Billboard Magazine at the Hollywood Forever Cemetery in Los Angeles, California.
Her hair was done by Sheridan Ward & makeup by Etienne Ortega.
it serves so fkin hard i adore this aesthetics and this is almost how i pictured tunnel album aesthetically wow its SO rich its so tremendous and im living
Why Lana Del Rey Is Opening Up About Her Family on ‘Tunnel Under Ocean Blvd’
There is, in fact, a tunnel under Ocean Boulevard. Though a few online spectators suspected the tunnel, which inspired the name of Lana Del Rey’s album Did You Know That There’s a Tunnel Under Ocean Blvd, out March 24, might be located in Myrtle Beach, S.C., Del Rey recently revealed that the underground tunnel is actually in Long Beach, Calif. — not far from Los Angeles, where Del Rey has lived for the last six years.
The singer-songwriter’s use of SoCal iconography has been a cornerstone of her songwriting for over a decade, from Born To Die’s (2012) depictions to old Hollywood glamor to Norman Fucking Rockwell’s (2019) allusions to Venice Beach. While it’s present on her new project as well, Del Rey admits she is not quite as focused on “world building” as she once was, and instead is “living from the neck up,” focusing her craft on more lyrically driven and intimate songwriting.
Del Rey’s Tunnel Under Ocean Blvd discusses unrevealed details and stories about her “family of origin,” especially in songs like “Fingertips,” which she says “tells everything about everyone from day one.” Just weeks before its release, Del Rey – who is Billboard’s 2023 Women in Music Visionary honoree — talks about creating the album in her living room, and why she is ready to talk about her family.
How did your new album begin to take shape?
Mike Hermosa, who produced the majority of the songs on this album, would come over to my house, and I would hear him in my living room playing piano. He’s not even a musician full time. He’s a DP, a cameraman. I would hear him play, and I’d be like “can I record that?” or I’d sneakily record something. Eventually I asked if he could just keep playing, and I could sing. Then, every Sunday when he wasn’t working, he would just kind of noodle around, and I would sing. That’s how we wrote the first song: “Did You Know That There’s a Tunnel Under Ocean Blvd.” I knew right away that I really, really liked it. I enjoyed how casual writing with Mike was. He didn’t have a dog in the race. He wasn’t interested in anything beyond just playing. It’s fun that the entire album didn’t feel like we were making one until the end when Jack Antonoff came in and was like “I really like this. Can I put something on top of this?” When Jack comes in, you know you’re making a real record.
Do you feel this casual approach to songwriting was able to open you up creatively?
This process was almost like automatic singing. I just knew exactly every word to sing for everything he played because the chords were perfectly arranged. I think my overall feeling when writing this album was just, “wow, I got lucky.” Also, I realized that, even when I’m seeking so many other things in my life, music really seeks me. It’s like a little bird following me around. Somehow when I didn’t want to make music, I was presented with the best collaborators I’ve met. I just had them in my living room. I realized music is the one thing that constantly shows up for me, even when I’m looking for something else.
Since you were singing so automatically, as you put it, did you go back and edit, or did you leave it as is?
There was a lot of editing, because it was mostly a stream of consciousness, but every now and then I’ll have a complete song come to me fully formed. The song “Fingertips” I created in one sitting, voice memoed it, and sent it to [the producer and composer] Drew Erickson. He came back to me the next day with a full orchestra. Again, I just felt so lucky: lucky for the songs, lucky for these producers, lucky for the project.
You have Jack Antonoff coming back on this record. He’s worked on so many major albums in the last five years, including two of your own (Norman Fucking Rockwell and Chemtrails Over the Country Club). As someone who has worked with him so often, what’s his secret? Why does everyone want to work with him?
He can play anything on any instrument. He can fit the right instruments and melodies to any idea you’ve had. I think he plays something like 16 instruments. For us, it’s definitely very collaborative. I think probably out of any projects he’s worked on, he would say I give him the most direction. It’s funny because I recently heard all of his records he made from when he was in high school, and I still hear so much of what he’s done on Taylor [Swift]’s new record from that high school record. He’s just prolific. It’s absolutely wild to watch. That’s why it’s so fun because you really get to create any sound with him. He’s also a girl’s guy. He gets it!
He’s also a featured artist on the album too. How did that come about?
I was done with the album, and he came in for a couple days. We sat there, and I said, “let’s just play the piano.” I can make a song out of anything Jack plays. That’s actually how Norman got started too. He just plays and I just sing. He started playing something and then I was thinking about his fiancée [Margaret Qualley] who I just can’t live without! I love her. I started singing “he met Margaret on a rooftop / she was wearing white / and he was like / ‘I might be in trouble.’” I asked him what he thought we should say in the second verse because with him and Margaret it was a “when you know you know” situation. He had the idea to sing about what you should do when you don’t know. He started singing, and I told him he should just sing it on the record. It was really fun.
What overall themes did you try to capture in this record?
Family of origin is the overall theme. I think with Blue Banisters I wanted to capture this idea too, but I flew it under the radar. I was trying to address some criticisms that I had heard said after Chemtrials… mostly that people don’t know much about me. I didn’t promote that theme of Blue Banisters at all intentionally. In this album, I got to really finish my thoughts and get super specific, which I was not comfortable with completely before… I do list my grandpa, my brother, my dad, my Uncle Dave. In the song “Fingertips,” I sing “Charlie stop smoking / Caroline will you be with me / will the baby be alright? / Will I have one of mine?” I think I was able to open up about this because Mike was so casual to work with. All in my living room. It allowed for that. “Fingertips” tells everything about everyone from day one until now.
Are you nervous about being so forthcoming about your family in this record?
I was. I was so uncomfortable. Then, by the grace of God, I felt completely unburdened.
Your father, Rob Grant, is releasing an album on Decca Records on June 9, and you’ll be featured on two songs. Has he always been musical?
My dad has always played piano and he sang when he was younger with my uncle who’s a traveling organ player for Emmylou Harris and Buddy Guy. They wrote country records back in the day. I don’t know how and when it came to him. But I think he just decided he wanted to record it. And [my manager] played it for Decca Records, and they loved it. I’m not talkative when it comes to myself, but you will learn so much about me in hearing him. It gives so much context to the family.
How Lana Del Rey Became ‘Completely Unburdened’ For Her Most Personal Material Yet
Lana Del Rey practices "automatic singing." Using the improvisational songwriting technique, she lets her voice carry over accompaniments, not commandeering where her words or melodies take her, accepting all ideas she has in the moment and editing them later. Lately, her voice has led her home, back to memories of her childhood in Lake Placid, N.Y., and to ruminations on relationships with her family and the divergent paths they’ve taken.
That subject underpins her upcoming ninth album, Did You Know That There’s a Tunnel Under Ocean Blvd (out March 24). Del Rey, 37, says she hesitantly began to unpack this subject matter with her previous album, Blue Banisters — but now, she’s ready to dig deeper. “At first I was so uncomfortable,” she says of the more personal material. “Then, by the grace of God, I just felt completely unburdened.”
As a singer-songwriter, this year’s Visionary honoree has embodied that word for over a decade. Her 2012 major-label debut, Born To Die, made her a star and defined music’s Tumblr era, as a young Del Rey toyed with both the romantic and the darker sides of the American dream. Her “world building,” as she calls it now, for her early work created a collage of beautiful and disparate images, pairing hip-hop aesthetics with references to the Kennedy family, Elvis Presley with John Wayne, and old Hollywood glamour with biker gang grit.
Since then, Del Rey has pushed musical boundaries — seamlessly peppering an album with features from Stevie Nicks to Playboi Carti (2017’s Lust for Life), reworking a Sublime cover into a contemporary Billboard Hot 100 hit (2019’s “Doin’ Time”), for instance — while achieving both critical acclaim and commercial success. She has earned six Grammy nominations and holds the record for most No. 1s on Billboard’s Alternative Albums chart. And somehow, each week, it seems a new song from her vast catalog gains traction on TikTok. (“West Coast” and “How To Disappear” are two recent breakouts.) Younger artists often cite her as an inspiration — including Billie Eilish, whom Del Rey now calls “my girl. It makes me feel comforted that music is going in such a good direction.”
Since 2019, you’ve released four albums. Is it fair to say you have more creative energy than ever?
I think it might look like that! It’s funny because I keep telling people, “I haven’t worked in three years,” but really I just haven’t done shows in three years. As soon as I start getting ready for a show, that’s when it feels like work.
How has your process changed since Born To Die came out?
Eleven years ago I wanted it to be so good. Now, I just sing exactly what I’m thinking. I’m thinking a little less big and bombastic. Maybe at some point I can have fun creating a world again, but right now, I would say there’s no world building. This music is about thought processing. It’s very, very wordy. I’m definitely living from the neck up.
Can you remember what it felt like creatively when you were just starting out?
I think back to the beginning, being in New York. I would just go to a little deli by Grand Central and all you had to do to sit at the table for hours was buy a black coffee. I remember thinking, “I’m doing it. I’m living it.” It was all very thrilling. I was so psyched back then.
You recently featured on Taylor Swift’s “Snow on the Beach.” What was collaborating with her like?
Well, first of all, I had no idea I was the only feature [on that song]. Had I known, I would have sung the entire second verse like she wanted. My job as a feature on a big artist’s album is to make sure I help add to the production of the song, so I was more focused on the production. She was very adamant that she wanted me to be on the album, and I really liked that song. I thought it was nice to be able to bridge that world, since Jack [Antonoff] and I work together and so do Jack and Taylor.
Who do you consider to be a visionary?
Joan Baez. I sang with her recently. She gave me a challenge: She said, “Go down a little road and look for a left turn and find my house [in Northern California]. If you find it and can play ‘Diamonds and Rust’s’ high harmony, I’ll come to Berkeley with you and sing.” So my sister and I rented a car and searched for the house. I was very nervous. I don’t play guitar that well, but I learned the first three chords and sat across from her, [and when] we stopped playing, she was like, “Great, I’ll see you at Berkeley.” And another visionary to me is Cat Power. I had heard that she would run offstage when she wasn’t feeling it or just turn her back to the [audience] and keep playing. That’s when I knew I could probably do this.
it serves so fkin hard i adore this aesthetics and this is almost how i pictured tunnel album aesthetically wow its SO rich its so tremendous and im living
Some Melanie songs, especially 2013 EP era stuff, were heavily reworked. Dear Porcupines has an interesting history:
Acoustic self-production
The Elev3n (two leaked demso)
Studio acoustic by Miles Nasta
Doveman (four leaked mixes)
And she was going to have it re-produced again for Cry Baby but ultimately, this never happened (as far as we know).
Notably though, these were mostly just production changes rather than lyrical differences. Another example of this is Play Date— which started off as a piano ballad with Jennifer Decilveo, before being remade by Michael Keenan!
ty for this beautiful thread
Buy the Stars is Marina's best song
Wheels on the Bus by Melanie Martinez is NOT a bad song
Dead to Me by Melanie Martinez is the WEAKEST song from Cry Baby Sessions
Pure Heroine >>> Melodrama
idk why u are shitting on wdbcf its a GREAT great ballad its so soft, its building up, and lyrics, and it has that cry baby atmosphere and its just her top5 unreleased easily.... but it wasnt there for me when it leaked indeed, so its a grower, just like ZZZZ, they are slow down but after some time it just hits another fabulous way and im really happy its not hoarded anymore
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