![]() ![]() Lizzy Grant (2010): D3 - E♭5 - C♯6Ĭhemtrails Over the Country Club (2021): C3 - F♯5ī♭5 (" Brite Lites", " Stargirl Interlude") ![]() Having already defined the mid-oughts for a generation of people, as her artistic evolution is showing no signs of stopping, the momentous potential of what follows, after the massive leap forward that is Norman Fucking Rockwell!, is, to put it mildly, endlessly fascinating. Apart from the odd showcase of surprising vocal power, Lana has largely stuck to her guns up until this point, largely lacking any significant belting or falsetto showcase with the trend of constantly surpassing her known range with every new project, it does leave room for speculation about the future of Lana's vocals and, to a greater extent, her legacy. True to her musical themes, Lana has always first and foremost exploited her dark, sullen low notes with the occasional forlorn, siren-calling head voice passage, all aesthetically complementing her observations on the seductive decadence of the Hollywood lifestyle. Observing her growth as an artist and as a singer, however, it is hard to not get invested in the evolution of her sound despite her timid beginnings, Lana's voice had an inherent strength and distinctiveness that she's continued to hone ever since she got her big break with the countercultural Born to Die. From an alternative solution to the increasingly glamorous pop scene to one of the mainstays of a new artistic movement, known pejoratively by some as a millennial music darling and more positively by others as one of the genre's brightest lights, at first glance Lana Del Rey seems like an unlikely candidate to elicit such a viscerally divisive reaction.
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