Did You Know That There’s a Tunnel Under Ocean Blvd: Lana DelRey’s NewMagnum Opus
By DAVID GOODALL ‘24
Did You Know That There’s a Tunnel Under Ocean Blvd? Assuredly, most of us did not. Not until Lana Del Rey released her outselling album of that name on March 24, that is. In her perhaps most existential release to date, Del Rey becomes both intro and outro-spective in her ninth official studio album. While slightly affected by my health-center-prescribed steroids (and some antibiotics, too!), I have been tasked with reviewing Did You Know That There’s a Tunnel Under Ocean Blvd? by the lovely Editor-in-Chief of The Exonian, Emi Levine. While I anticipate that summarizing such a masterpiece — with 16 new songs and too many complexities to count — in less than 24 hours will be difficult, I will certainly attempt to do so here.
“The songs mix together both stylistically and lyrically to tell a complete story: one of loss, rebirth, life, and memory.
Prior to releasing the full album, Del Rey released three singles from the album: a track with the same title as the album (too long to keep repeating), “A&W,” and “The Grants.” These three songs alone offer a diverse taste of what the album has to offer. Firstly, “Ocean Blvd” — the track — opens up in the form of a beautiful ballad, culminating in warbling vocals and an intensified instrumental. I immediately sent the song to my good friend, Emilia, who was suffering from COVID-19 in the health center and deserved a nice pick-me-up. It definitely worked. While I may never get to see this so-called tunnel, the song transports you to the California Coast, on a lazy day where you have too much to think about. As the song climaxes, she requests, or perhaps orders, “Don’t forget me.” With releases like this one, how could we ever?
The next release was “A&W.” I may or may not have snuck out of my English class to listen to it in the Academy Building second-floor bathroom. If this truly did happen, it would certainly have been the correct choice. It was Valentine’s Day, and “A&W” added to the excitement of the day, with — excuse the terminology — a sultry beat drop and unforgettable lyrics. I adore listening to Lana Del Rey’s songs on blast with my speakers (apologies to the people in my hall!), and this song may have been played more than any on repeat. It would not surprise me to learn that my next-door neighbor knew all the lyrics due to my incessant playing alone.
The third and final pre-release, “The Grants,” offers a transition from Del Rey’s prior album, Blue Banisters, and introduces the theme of family, which Del Rey reflects upon several times throughout the album. Offering the memories Del Rey will “take with [her],” she brings in the imagery of her “sister’s first-born child” and her “grandmother’s last smile.”
When Del Rey’s album dropped, I was overwhelmed. There were 13 new songs along the three pre-released selections and only so much time in a day. As the days unfolded, and time spent awake increased due to the daunting Exeter homework load, I was able to listen to the whole album.
Del Rey’s latest album is full of connections, concoctions, and collaborations. The songs mix together both stylistically and lyrically to tell a complete story: one of loss, rebirth, life, and memory. Del Rey beautifully tells stories through song, as depicted through selections such as “Sweet” and “Fingertips,” combined with gritty imagery and recording such as in “Peppers” or “A&W.” Her lyricism repeats itself, emphasizing her message and demanding a response.
Del Rey pays homage to her past self and leaves us wondering where her songwriting journey will go next. In “Fingertips,” she references “being a serene queen,” and “The Grants” had more hardcore listeners questioning if it referenced her unreleased Tik Tok classic, “Yes to Heaven.” Regardless, the references to her past self culminate in her final track, “Taco Truck x VB,” which samples “Venice B*tch,” a song from her Grammy-nominated album, Norman F*cking Rockwell. Like other tracks from the album, Taco Truck takes a trap-influenced feel, giving a new life to the original classic. Does this song represent a new direction for Del Rey? Or is it epitomizing all she has become until now? Regardless, I sure will have this entire album on repeat for several weeks to come and would recommend anyone to give a listen. She offers a taste of everything and leaves you with just enough want of more.
“Del Rey pays homage to her past self and leaves us wondering where her songwriting journey will go next.”
